
mmm:' 



mm-- 




.^ 



-^ 






.0 










.^' '/>, 







^ ' -i 



?:^ -^^ 










t PsK, 'XT.' - -^ > 

















iXk- 



I 

THE 

PHONARTHRON. 



i/- 



2 



C^ 



'-^r. 




OR, 

NATURAL SYSTEM OF THE SOUNDS OF SPEECH; 

A TEST OF PRONUNCIATION FOR ALL LANGUAGES: 
ALSO, 

THE PHONARITHMON, AND THE PHONODION. 



TO WHICH IS ADDED, 

A PRACTICAL APPLICATION OF THE PHONARTHRON 
TO ENGLISH AND FRENCH PRONUNCIATION; AND TO THE READING OF HEBREW, &.c. 



REV. WILLIAM-HENRY HENSLOWE, M.A. 

PERPETUAL CURATE OF WORMEGAY, NEAR LYNN, NORFOLK ; 

FORMERLY OF JESUS COLLEGE, CAMBRIDGE; 

AND AUTHOR OF SERMONS ADDRESSED TO THE ROYAL REGIMENT OF ARTILLERY, 

IN THE BARRACK CHAPEL AT WOOLWICH. 



" All difficulties are but easy when they are known." — Shakspeare, Measure for Measure, Act iv. Sc. ii. 

" Arbitrary and antic variety is not the thing we admire, but variety obeying arule, conducing to an effect , 
and commensurate with exigencies infinitely diversified." — Paley, Natural Theology, Chap. ix. 

" The whole earth was of one language and of one speech." — Moses, Genesis, Chap. xi. 



LONDON: 

PUBLISHED BY J. G. F. & J. RIYINGTON, 

ST. Paul's church yard, and waterlog place, pall mall. 

1840. 



^^A 

^ M 






LONDON : 

OILBRKT *« RIVINGTON, PRINTERS* 

ST. JOHN'S SQUARE. 



TO HER ROYAL HIGHNESS 



THE 



PRINCESS SOPHIA-MATILDA OF GLOUCESTER, 



THIS INVENTION IS INSCRIBED, 



BY 



HER ROYAL HIGHNESS S 



GRATEFUL 



AND 



DUTIFULLY ATTACHED GODSON, 



THE AUTHOR. 



A 2 



1 



Pat. Otto* Liib. 
▲»rll 1914. 



ADVERTISEMENT, 



THE ENSUING THEORY CALLED 

PHONARTHRON, 



WAS FIRST 



Imagined 
Completed 
Prepared for Press 
Revised 
Published 



A. D. 1821. 

A.D. 1827. 

A.D. 1829. 

A.D. 1838. 

A.D. 1840. 



=:In the years 1821, 1822, this invention was encouraged by the com- 
mendation of the author's preceptor at that time, the Rev. Henry 
Gauntlett, Vicar of Olney, in Buckinghamshire. In the years 1826, 
1827, it was further approved by the Rev. Samuel Lee, Professor of 
Arabic in the University of Cambridge, who kindly suggested that it 
might be printed by the University press. In the years 1829 and 1840 
it was accordingly twice tendered to some influential members of that 
body for that purpose, but they declined. The patronage of a distin- 
guished Prelate was also solicited in 1829, w^ho, however, severely 
reprehended the author's temerity, and subsequently became extremely 
hostile to him. These and other c^zscouragements, added to an extreme 
diffidence occasioned by them, have thus long retarded a publication, 
which, it is still imagined, icill he useful to the world. A conviction of 
this fact, and a sense of that personal accountability for time and talent, 
which is imposed upon every human being, must now plead the author's 
excuse to all those who disapprove his undertaking. The paucity of 
subscribers' names, in comparison with the number of applications made, 
is an additional check : nevertheless, after the lapse of so many years, 
he has determined to persevere. 



VI ADVERTISEMENT. 

The following extracts of correspondence on the subject will show 
the opinions of a few : — 

1. From a senior and successful relation. " 14th February, 1840. 

" My dear William-Henry,— You have ever found me plain spoken, 
and have occasionally, I believe, thought me too much so. I cannot 
help thinking you very unwise to try your hand in the projected work 
after the losses and disappointments you have experienced. I cannot 
understand what you propose to yourself. If I had seen the advertise- 
ment ' without your name, I should have laughed at it, and fancied it 
was some quackery or rhodomontade ; but, as I am sure you are in 
earnest, I can only suppose that you are under some error of judgment 
respecting the utility of a work, which, if it means any thing, would 
require the thoughts and extensive experience of great learning and 
ability. Do then, think twice before you leap. I can assure you that 
I have far too many uses for a stray guinea, to throw it away upon 
a work, which, I feel confident, will not be of the slightest use to 
myself, or any of my children," 

2. From a member of St. John's College. 

" Cambridge, Thursday, Feb. 13, 1840. 
" My dear Henslowe, — Certainly I will subscribe for your work, 
being anxious to get a notion of how you will treat a subject which I 
apprehend to be one of the most extreme difficulty,^' 

3. From a member of Downing College. 

" Cambridge, Thursday, Feb. 13, 1840. 
" My dear Sir, — I am very happy to insert my name on the list of 
subscribers to your new work. Its subject is one of those common 
and open to all, on which men are in general satisfied with their own 

^ Not " advertisement," but prospectus. 



ADVERTISEMENT. Vll 

vague notions and experiences, and are not inclined to philosophize 
themselves, but to be hypercritical of those who make the attempt." 

4. From a Bishop. "25th March, 1840. 

" Reverend Sir, — My rule is not to subscribe to publications ; for the 
solicitations to a Bishop are endless; but your design is original and 
important, and I beg leave to give my name as a subscriber." 

5. From a Lady. "5th March, 1840. 

" P. S. As an Elocutionist and French Translatress, I must con- 
trive to see the Phonarthron, which, I imagine, must prove of the 

highest utility to all linguists." 

6. From a correspondent of the author's mother. 

" Cossey, Norwich, 3rd October, 1829. 
" My dear Madam, — 1 am much obliged by your sending me the 
prospectus of your son's projected work. It is upon a subject of 
the utmost importance to Rhetorical science ; and if he achieve any- 
thing approaching to fixing a standard, by which the inappreciable 
sounds of speech can be examined, he will have done an immense 
service to every species of Oratory. I beg him to place my name upon 
the list of subscribers." 

7. From another. " London, 6th July, 1 840. 

" Dear Madam, — I beg to be permitted to add my name to your 
son's list of subscribers. I am glad he has made up his mind to publish 
by subscription, as the safest way for his pocket; for his subject, 
though highly ingenious, might not interest the many, who are too 
fond of light reading, such as novels, or worse trash still provided by 
Boz and Co." 



VIU ADVERTISEMENT. 

8. From another, lately M. P. " London, 20th May, 1840. 
" When your son was in town, I begged him to put my name down 

as a subscriber to his book. I wish I could procure him as many sub- 
scribers as may be required to make it a source of profit." 

9. From another. 

"Much Hadham, near Ware, Herts. 2nd Aug. 1840. 
" Madam, — I shall be glad if you will order your son's work, called 
the Phonarthron, to be sent to me when published. It is on a subject 
(the Philosophy of Language), which has long been a favourite pursuit 
of my own leisure. Should Mr. Henslowe's invention answer his ex- 
pectations, it would no doubt tend to banish some of that empiricism, 
which has more or less clogged every science, and none perhaps more 
than the science of language." 

=:The following is extracted from a little Pamphlet, entitled " Phone- 
graphy, or Writing of Sounds." V. D. S. London. Effingham Wilson, 
1839. 

" The Greek language is now no more, and its letters are almost 
forgotten. The Roman letters, adopted by most European nations to 
write their languages, might have suited the Latins two thousand years 
ago ; but with regard to our own present sounds ^, they are so deficient 
and ill-contrived, that no human brain can account for their numerous 
and contradictory acceptation ; not only amongst various nations who 
have adopted them, but in the same language, and even in the same 
word (as so happily exemplified in those fascinating spelling-books, 
with which we open the understanding of our children). So far is the 
writing of sounds gone from its primitive simplicity." 

zrThe Phonarthron may be considered as setting forth an Uni- 

» Not "sounds," but letters. — W. H. H. 



ADVERTISEMENT. 



IX 



VERSAL Alphabet, because it is available for all the purposes of an 
Universal Alphabet : but it is also much more than this ; it exhibits 

I. The natural totality, or definite number of the simple sounds of 
speech, never before defined. 

II. The natural arrangement, precise order, system, or relation co- 
existing between the sounds of speech. 

III. The natural rules, laws, or causes, whereby they multiply and 
vary. 

IV. The practical utility of a knowledge of these particulars, with 
reference to the pronunciation and orthography of every language. 

V. The like utility with reference to the Phonodion (i. e. Song- 
Sound), or the Elements of Music. 

VI. And finally — the like utility, with reference to the Phon- 
ARiTHMON (i. e. Arithmetical Nomenclature), or the Universal Names 
of Numbers. 



\J — 


\^ — 


\y — 


w — 


v^ — 


1 


f 


f 


f 


f 



Go 


forth. 


my 


Book! 


Go 


•pliatli, 


mi 


Bud 


The friend - 


ly 


Fo - 


D^^ 


phrend- 


li 


Phf^r 




dry 


rot 


— 




drai 


rr^-t 


.— 


And, 


though a 


pre - 


'And 


5 dho 


a 


prez - 


Thou shalt 


be 


scru - 


Dhau shdlt 


hi 


scru ' 




un 


- born ! 




In 


- br^n ! 



If Eng - land hail thee not, 

'Iph 'Iti - gland hil dhi ntrt, 

reign-er will save thee from 

u vil sibh dhi phrrrm 



en 



sent Age thy au 
ent Edzh dhai a 



thor scorn, 

thd' scn-n, 

ti - niz'd by Be - ings yet 

ti - naizd bai Bi - ir]Z jet 



Go forth, my Book ! — if England hail thee not. 
The friendly Foreigner will save thee from dry rot 
And though a present Age thy author scorn. 
Thou shalt be scrutinized by Beings yet unborn ! 



I^cnslotoe. 



INDEX OF CONTENTS. 



THE PHONARTHRON, OR NATURAL SYSTEM OF THE SOUNDS OF 

SPEECH. 

PAGE 

The Phonarthron Symbol, &c. 1 

Explanation of the Phonarthron Symbol, &c 3 

The Phonarthron Tablet in the Alphabetic Character .— 7 

Explanation of the Phonarthron Tablet 9 

The Anglicised Latin Terms, used in the Tablet, explained by their derivations . 1 3 
Examples and Explanations of all the (Seventy-two) particular Speech-sounds, in 

Four Tables 15 

Application of the Phonarthron Test to the Hebrew, Greek, and Latin Alphabets 24 
Notions and Definitions relating to the Sounds of Speech 25 

THE PHONARITHMON, OR UNIVERSAL NAMES OF NUMBERS. 

The Phonarithmon, or Universal Names of Numbers , 33 

An Imaginary Analysis of the Numeral Figures 35 

THE PHONODION, OR ELEMENTS OF MUSIC. 

Advertisement 39 

The Music-Coil, &c 41 

On the Names of the Musical Tones 43 

On Music, Melody, and Harmony 45 

On the Notation of Music 49 

The Phonorlion New Method of Notation, &c 50 

The Phonodion Piano-Forte, and the common Piano-Forte Keyboards, compared 51 
The Phonodion New Method of Notation, and the common or present method, 

compared 53 

The Royal Anthem in the Phonodion, and in the common, style of Music, com- 
pared 54 

A Melody for the Phonodion-Harmonicon 66 



THE 

PHONARTHRON 



SYMBOL, &c 



PHOA//IRTHRON OR SPEECHSOUAfD 





— 


n 


n 


/#r 


O 


▼ 


^ 


\j 



£SS£A/r/AL 



SUBST/IAfrML 



TV 


h- 


C\ 


3 


iw 


O 


V 


rv 


u 



PULMONAL 




JTiM^e. JEyt^TU^TV SfTTiJbolzc Ch/:tTajCders r^7-&3en/:^ (Ae et^Tueen. d^.m^7z6cuy sonrtd^ 
of cspe^cTv, wTcuJi- cu^e also d.C(Si^ruU%^ 'by ih^ TTvore Jhrrvcluir arbi^oTy charac^rs 

rH£ LATfN ALPM/IB£r/C CM/IRACTER. 



A 


1 


n 


C 


R 


o 


1 


L 


u 



71 


N 


M 


C 


T 


P 


J 


S 


V 




A 


1 


n 


E 


R 


o 


I 


L 


u 



THE /TAL/C ALPNABET/C CHARACTER. 



A 





.a 


£ 


B 


o 


J 


I. 


Cr 



r% 


jr 


M 


c 


T 


r 


vT 


S 


V 



27i^ ^LpTuz^et 'd&fjn^ de/LCz^rLt vn. tn^rts, letters, ar cTtajrcccders, ^r d^i^^e^ of t^.^ 



IL 



EXPLANATION OF THE PHONARTHRON, SYMBOL, 

&c. 



izThe word " Phonarthron" is a compound derivative of the two Greek 
words ^wvri and ApOpov. 

^(ovri signifies in Latin — vox, sonus, verbum, dictum ; and in Eng- 
lish — a voice, sound, noise, a word, an utterance. 

ApOpov signifies in Latin — artus, articulus, articulus vocis ; and in 
English — a limb or joint, an article, a speech-utterance : whence the 
verb Ap9po(t)i which signifies, in Latin, fingo, formo, articulo; and, in 
English, to fix or fit, to shape, to articulate. 

By the word " Phonarthron," therefore, is to be understood " speech- 
sound ;" that is, generally^ the doctrine or knowledge of the rudiments 
of articulate speech ; and, specifically, the definite system of the sounds 
of speech, as represented summarily by the Symbol and symbolic cha- 
racters, and largely by the Phonarthron Tablet, hereafter following. 

Note. That the Symbol of Nine (or Eighteen) is a summary of the 
tablet of seventy-two (or 9x2x2x2 = 72) ; and that the tablet is 
an expansion, or explication of the symbol. 

rzThe Phonarthron " Symbol" contains the nine geometric elements of 
form, shape, or figure ; namely, 



4 EXPLANATION OF THE PHONARTHRON, SYMBOL, 8iC. 

(1.) The three general varieties of the angle, which are usually 
distinguished as obtuse, right, and acute angles. 

(2.) The three general varieties of a straight line progression, 
which are rectilinear, curvilinear, and angular. And, 

(3.) The three general varieties of the curve, which are all together 
illustrated and combined in the superficies of a solid oval, or figure of 
an egg. 

Kow these nine elements of form, shape, or figure, of material bodies, 
represent severally the nine elementary formations and articulations of 
the organs of human speech : 

(1.) The three varieties of the angle represent three corresponding 
formations and articulations of the palate. 

(2.) The three varieties of a straight line progression represent 
three corresponding formations and articulations of the tongue. And, 

(3.) The three varieties of the curve represent three corresponding 
formations and articulations proper to the lip. So that the angle, 
the straight line, and the curve, represent respectively those three 
organs of speech, the palate, the tongue, and the lip ; and the 
angular, linear, and curvilinear varieties of form, shape, or figure, 
represent respectively the palatal, lingual, and labial varieties of the 
elementary sounds of speech. It is also to be noted, that these 
elements of form (or the symbolic characters) represent the elements 
of speech, not arbitrarily, but imitatively, or by analogy ; being that, 
the elements of speech are effected or performed by the organs of speech 
previously assuming or performing the elementary shapes, in order to 
produce the sounds, 

= The sound of bodies is an intimation of their essence; which essence 
comprises both a surface and a substance ^ : so that, if any material body 
(or bodies) be struck, there ensues a double result in sound ; namely, 

1 "The earth was without form, and void" [See Moses, Gen. ch. i. ver. 2] : that is, had 



EXPLANATION OF THE PHONARTHRON, SYMBOL, &C. 5 

tliat of the external superficial contact, and that of the internal sub- 
stantial vibration. 

The case is parallel in human speech ', which is a faculty in man 
imitative of the outward originals in nature concerning which he dis- 
courses; so that the nine elementary characters in the Phonarthron 
Symbol represent at once this twofold fact of 52«Z>stantial and super?[c\d\ 
sound; and so, that there are, in reality, eighteen distinct original 
utterances ; to wit, nine and nine of either kind, which therefore are 
accordingly distinguished by their respective denominations, and by 
their respective characters beneath the Symbol, the comprehensive 
Symbol of Nine. 

The sounds of speech which correspond, or compare, with the super- 

Jicial contact of bodies, are those which originate in the mouth, and 

are thence called orals ; and the sounds of speech which correspond, 

or compare, with the substantial vibration of bodies, originate in the 

LUNGS, and are therefore called pulm5nals \ 

neither shapeful surface, nor material substance, until the generating Spirit of the Deity 
brooded his mighty project of creation in the stillness and darkness of nothing. 

1 " A consonant cannot be sounded without a vowel." — See the Eton Latin Grammar, 
page 1. 



B 2 



m. 



THE PHONARTHRON TABLET 




PULMOAfALS. 



0/f/ILS. 



FcflaMiZ 


-Lui^imZ 


ZcLbiM 




Palais 


Zwi^^izM 


ZaJ>i^ 


A . a 


J . Sr. 


M . o- 


Jfa^br 


^ . y 


.r. n. 


jr. 727. 


£ . e 


Jt . r 


O , o 


Jf€d:uU^ 


c . c 


T . t 


z . p 


I . t 


X . I 


ir . to 


J^7tor 


_,T^_j_ 


S . J 


K. V 



2. 



PULMO/VALS 



OPALS. 



Vei^i -TabrwTzals 


0nZtil?rjj>7iaZj 


TldJnJO?^ - Orcds 


Vert - OraLs. 


TaZ. 


ZtTV. 


Zoub. 


FaZ. 


Zzrv. 


ZaZ. 


FaL. 


Zirv. 


zca. 


FaZ. 


Zirv. 


ZaZ. 


A. d^ 


J. 9^ 


Jl..^ 


A.<L 


3. i 


Jl.rr 


C6 ?7 


J^.TV 


JZjtl 


^. ?? 


^rf^ 


Mr^ 


Z.e 


Jt.r 


0. 


Z.6 


R.T 


0. 


&-g 


z. ^ 


Z.h 


C. c 


T. 7; 


P.p 


I. i 


Z.l 


ir.u 


Z^ 


Z.l 


ir.ii 


J-.f 


Z.x 


Kv 


JJ 


S.s 


V.y 



3. 



SO/VALS 







yOCALS. 1 


/CTALS 


' 






A. a. 
I. i: 


7t. r 
Z.I 


O. o 

iz. ^ 


A.€L 
I.T 


J. d- 
Jt.r 
X. I 


Zl..i^ 

0. 6^ 

IT. Uy 




zv:7i 

J).cC 
Z. X 


jzr.^z 

S.b 


C. c 


T. e 


P.p 




F&rv-H^InhormZs 


Ori -Z*vdnvo7zaZs 


F'uZ?n^7V - OraZs 


VerC - OraZs. 


eh. 


Ik. 






rZ. 


o-ky 
oh. 


ZT.Tv 


nZo 
dZ. 
zZ. 


TnJry 


cZ. 


Azo 

tZi. 

shy 


mJu 

pZy 


en 




/^ 


/iL/n 


^LS, 


sp//?/r/i. 


LS. 







SUHALS. 



IV. 



EXPLANATION OF THE PHONARTHRON TABLET. 



[first division.] 

L There are two primary means, or organs of speech, namely, the 
LUNGS and the mouth; whence the utterances originating in each are 
respectively called pulmonal and oral, and correspond with the usual 
but inadequate and indeterminate denominations vowel and con- 
sonant. 

2. There are three absolutely necessary, and only necessarily nomi- 
nal organs contained in the mouth, which both generate the orals, and 
modulate the pulmonals, namely, the palate, the tongue, and the 
lip; w^hence the several enunciations proper to each are cdXledi palatal, 
lingual, labial. The natural coadjutor of the palate is the thick or 
throatward part of the tongue; the natural coadjutor of the tongue is 
the teethwdrd or fore part of the palate; and the natural coadjutor of 
the lip is the other lip. Hence the terms guttural, dental, nasal, &c. 
which terms are often mentioned by grammarians and philologists, are 
improper and incorrect, if used to designate original and natural 
sounds, there being none such ; but only the original sounds (palatal, 
lingual, labial) may be affected, and the natural sounds (p. 1. 1.) may be 
imitated, by the parts adjacent to the specific organs : thus, the lingual 
R. r. is imitated in the French Parisian dialect by the uvula, and the 
Parisian French are therefore said grasseyer, parler gras, that is, " to 



10 



EXPLANATION OF THE PHONARTHRON TABLET. 



speak thick." And thus also the final N. n. and M. m., in French, 
are affected nasally, or by the nose. And thus further, the labial F. f. 
(z. e. Ph.ph. in the Phonarthron Tablet), which is truly and naturally 
enounced by the modern Greeks, is affected and partially imitated by 
the teeth, in the generality of European languages. 

3. Each of the three oral organs (palate, tongue, lip) modulates and 
generates its several utterances by a graduated scale of three degrees 
oral, and three degrees pulmonal ; or of six degrees seriatim, from the 
extreme pulmonal to the extreme oral : thus — 



1 


2 . 


fi 


4 


5 . 


6 










A 

3 


B 

. R 
. 


I 


, ., T - 


C 

T . 
P . 


J3 
N 
M 


. L 


s 


U 


V 







which degrees are therefore called major, mediate, and minor, because 
each of the two kinds, or primary powers (pulmonal and oral) of 
speech-sound expresses more of its own proper character in the major 
degree, and less in the minor degree, than in the mediate or middle 
degree. This is, in a manner, represented in the circular portion of 
the first division of the Phonarthron Tablet, where the respective major 
degrees occupy the outer circle, the minor degrees the inner circle, and 
the mediate degrees the middle circle. 



[second divlsion.] 

1. By a generally reciprocal influence of the pulm5nal and oral 
powers upon the utterances of each other, there results a new (double) 



EXPLANATION OF THE PHONARTHRON TABLET 



11 



set of sounds, thus varying from their originals, and as specified by 
their names in the second division of the tablet : thus — 

The veri-pulmonals are the natural, original, most perfect pul- 
monals. 

The ori-pulmonals are contracted or acuted by the oral power. 

The veri-orals are the natural, simple, most pure orals. And, 

The pulmon-orals are affected or imbued with pulmonal sound. 

Note. That the veri-pulm5nal and ori-pulmonal varieties have been 
usually distinguished as " vowels" grave and acute ; and that the veri- 
oral and pulmon-oral varieties have been usually distinguished as 
" consonants" pure and impure. 

2. The degree, or extent of the reciprocal influence is indefinite, 
and not always equally discernible ; on which account, although they 
are sufficiently distinguished by the marks ( ' and ' ) placed over letters; 
yet, in order to determine accurately the comparative variations of dif- 
ferent mouths, dialects, and languages, such compounds of them as the 
following may be used. 



Veri-Pulmonal = Grave. 
Pulmon-Oral = Impure. 


Veri-Oral = Pure. 
Ori-Pulmonal = Acute. 


More Grave, 

or 
More Impure. 


Grave, 

or 
Impure. 


Less Grave, 

or 
Less Impure. 


Less Pure, 

or 
Less Acute. 


Pure, 

or 
Acute. 


More Pure 

or 

More Acute. 


2^ 


^ 


VJ 


\^ 


^ 


^ 



Note. That the French make three or four distinct sounds of E. e., 
independently of the e muet^ or mute (which is a-, or a^/i, or ' ) ; namely, 
the eferme^ the e ouvert^ the e" tres-ouvert (and the e moyen?). 

Note. That such letters as the alphabet affords (g. d. b. z.) to denote 
the reciprocal influence, are inserted in the tablet, instead of the punc- 
tual signs or marks being placed over the original letters (c. t. p. s.), as 

5 



12 EXPLANATION OF THE PHONARTHRON TABLET. 

is necessarily the case with those sounds which have no such dis- 
tinguishing alphabetic letters. 

[third DIVISION.] 

Each of the two primary means, or organs of speech, hath two pecu- 
liar properties or powers ; namely, those of the lungs, voice and hreath ; 
and those of the mouth, articulation and configuration : hence — 



1. The several modulations of the voice are called Vocals, 

2. The several modulations of the breath wee called Halitals, 

3. The characteristic articulations are called Ictals, 

4. The characteristic configurations are called Spiritals, 



Pulmonals-Sonal. 
Pulmonals-Sural. 
Orals- Sonal. 
Orals-Sural. 



Note. That when a person whispers^ the vocals become halitals. 

Note, also, That the spiritals are what have been usually called 
aspirates, or aspirated consonants. 

Note, further, That although the halitals and spiritals (that is, the 
whisperings and aspirates) are represented in the Phonarthron Tablet 
by adding the letter H. h. to each of the corresponding vocal and ictal 
[that is, sonal] letters ; it is not because [or therefore] the halitals and 
spiritals [that is, surals] are not themselves really simple and single 
sounds, but only because it is more convenient and agreeable to the 
old practice of denoting the spiritals, albeit under the mistaken notion 
of their being aspirated consonants, or sounds compounded of sonal 
consonants and the particular spirital H. /z., which indeed is not the 
case. 



13 



THE ANGLICISED LATIN TERMS, 

USED IN THE PHONARTHRON TABLET, EXPLAINED BY THEIR 
DERIVATIONS. 



Anglicised Names. 


Latin Words. 


English Meanings. 


Pulm5nal 


Pulmo-nes 


The lungs 


Oral 


Os, Oris 


The mouth 


Palatal 


Palatus 


The palate 


Lingual 


Lingua 


The tongue 


Labial 


Labium 


The lip 


Major 


Major 


The greater 


Mediate 


Medius 


The middle 


Minor 


Minor 


The less 


Vocal, or 


Voco 


I call 


Vowel 


Vox 


The voice 


Halal, or 


Halo 


1 breathe 


Halital 


Halitus 


The breath 


Ictal, or 


Ico 


I strike 


Consonant 


Ictus 


A stroke, or blow 


Spirital, or 


Spiro 


I blow 


Aspirate 


Spiritus 


A blast, or wind 


Sonal, or 


Sono 


I sound, or ring 


Sonant 


Sonus 


A sound, or noise 


Sural, or 


Susurro 


I whisper, speak softly 


Susurral 


Susurrus 


A still soft noise 


Veri- 


Verus 


Very, real, true. 1 



EXAMPLES AND EXPLANATIONS 



THE (SEVENTY-TWO) PARTICULAR SPEECH-SOUNDS, 



FOUR TABLES. 



16 



EXAMPLES AND 

FIRST 

The Vocals i or 



VERT-PULMONAL. 


A 

(1) 


a zn a, in English, bar, path,fa-ther 
■=. a, in French, has^ part, ca-ble 




E 


e =z: e, in English, pear, great, weight 
r= e, in French, pere, grete,fete 
— n, He, in Hebrew ; H, t]. Eta, in Greek 


I 


i zz i, in English, grief, mien, shield 
= i, in French, crime, gite, cerise 




3 


9- =: or, in English, e(;or6f. = z^r, in murder 
zz oeu, in French, c^xwr. =: eu, in crewse 
=1 er, in English, herd, servant 


n 

(2) 


r r= r, in English, drum, grey, ogre 
■=L r, in French, hrun, groupe, ordre 




(2) 


Z zz /, in English, ^/ooc?, glade, Bible 
— Z, in French, blond, gland, Bible 

■ - S T nmo/J in f-ToKroMiz • cinri A a T nvnTirln in l-rroot 




Jl 


^ =3 a, in English, ward, ball, fall 
= 0, in French, mort, corps, vjoix 
= 0, in English, Twore, core, lore 





-=. o,\w English, hope, rose, gold 
— 0, in French, tome, rose, rosier 
•=. Qi, (i). Omega, in Greek 


U 

(3) 


u =z u,in English, truth, plume, flute 

zz &u, in French, rouler, croute, pelouse 
— 1, Vau, in Hebrew. — s, in Greek 



(1) When the sign is thus elongated towards the capital letter, it intimates that 

acute {'), ox pure : that is, between the Veri-Pulmonal and Ori-Pulmonal sounds, or between 
Tablet, Second Division, 

(2) Neither the English nor French pronounce the R. r. final, nor do the French 
them both as halitals ; and the English pronounce ^ instead of r ; thus — 

ogre, ochre "^ f in English, 



The several J 

examples | „.7, ', \ 
\_ Bible, boucle 



ordre, centre, > are really and usually pronounced, < in French, 



in French, 



EXPLANATIONS. 

TABLE. 

Pulmonals-Sonal. 



17 



A 



R 



Jl 



O 



ORI-PULMONAL. 



a, in English, ba^, barrel, happy 
flj in French, bagae, baril, ami. 



e, in English, net, debt, weh 
e, in French, nette, dette, messe 
E, £, Epsilon, in Greek. 



2, in English, link, risk, bliss 
z, in French, lien, registre, ami. 



0, in English, love. z=. u, in cup 
eu, in French, j'^w. •=! u, in parfum 
e, in French, Je, me, Ze, se, te, &c. 



= r, in English, trim, prince, ochre 
zz r, in French, jore, crSme, centre. 



zz I, in English, plum, dag, purple 
m 7, in French, plan, clef, boucle. 



zz a, in English, wan, watch, swan 
zz a, in French, banc, sang, plan 
zz 0, in English, dog, flock, top. 



zz 0, in English, obey, Deuteronomy 
= 0, in French, somme, notte, noble 
=. O, o, Omicron, in Greek. 



U \\ u zz M, in English, bull, pully, bushy 

zz ou, in French, boule, boulet, poulet 
zz Y, V, Upsilon, in Greek. 



X 



there is no distinguished difference between the grave ( ' ), or impure varieties, and the 
the Veri-Oral and the Pulmon-Oral sounds. See the explanation of the Phonarthron 

pronounce the L. 1. final, as they ought, or as they intend to do, hut the French pronounce 



not og-r, och-r, but og-^, och-^, 
not ord-r, cent-i", but ord 
not Bib-1, bouc-1, but Bib 



^, och-^, "^ 

-rh, cent-rh, > 
\-lh, ho\xc-llh J 



which peculiarity in French is further 
remarked upon under Rh, Lh. See 
the next Table. 



18 



EXAMPLES AND 

SECOND 

The Halitals, or 



&h &.k I This sound is described in French as - - - - 

In Hebrew it is designated by the vowel point ( : ) Slieva ; and in Greek 
able to that element of Grammar which teaches that " a consonant cannot be 
word ending with a consonant, and to -precede if it legins with one. It is the 



veri-pulm5nal. 


All 


ah 


See the Explanation of the Phonarthron Tablet, Third Division. 


Eh 


ih 


See the Explanation of the Phonarthron Tablet, Third Division. 


Ih 


ih 


See the Explanation of the Phonarthron Tablet, Third Division. 



Bh 



rh I =: re, in French, cendre, marbre, aigre 

The French, in common with other languages, erroneously assuming r and 
preclude the vowel or pulmonal sound, which being impossible, they only 
by the Greek P {Rho) and ( ' ) spiritus asper : thus 'P, expressed in Latin 



Lh 



Ih I zn le, in French, angle, cable, regie 

See what is said above, under Rh. Moreover, this sound is also designated 
French it is mostly final, but in Welsh initial, ox used at the beginning of 



J2h 



nrh 



See the Explanation of the Phonarthron Tablet, Third Division. 



Oh 



oh 



See the Explanation of the Phonarthron Tablet, Third Division. 



Uh 
(3) 



uh 



See the Explanation of the Phonarthron Tablet, Third Division. 



(3) Independently of the general sounds of U, and its relatives Uh, V, Vh, which are 
chiefly distinguishable in French, and which are effected by an increased and extreme 
U . u :=: u, \n the French words, pure, flute, and in the Suffolk 
V . V — u, in the French words, puis, suite, and vh ■=. hu in 
A general tendency to contract, and be extremely perspicuous, is, indeed, characteristic of 
English. Still, however, these sounds are more than slightly varied from the general 
has been already noticed in the " Explanation of the Phonarthron Tablet," First Division, 

5 



EXPLANATIONS. 19 

TABLE. 

Pulmonals-SuraL 



ORI-PULMONAL. 



AhW ah 



See as opposite. 



Eh eh 



See as opposite. 



Ih ih 



See as opposite. 



Sh II d-h I "e muef^ (or mute e). 

by ( ' ) the spiritus lenis ; if, indeed, that figure has any positive power at all. Agree- 
sounded without a vowel," this sound appears to follow the enunciation of every 
most ready pulmonal emission of breath, as its vocal is of voice. 



Rh II rh \ ■=: re, in French, centi'e, pourpre, encre. 

I to be consonants (Orals) not vowels (Pulmonals), endeavotir so to pronounce as to 
become Halital (or Sural), instead of Vocal (or Sonal). This sound is also indicated 
thus, Rh. 



Lh II Ih I = le, in French, oncle^ temple, nefle. 

in Welsh by LI. 11., being only more strongly uttered than in French, because in 
syllables and words. 



J2h o'h 



See as opposite. 



Oh oh 



See as opposite. 



Uh uh 



See as opposite. 



instanced in these Four Tables, there are other peculiar variations, or imitations of them, 

contraction of the mouth, or lips^ in enouncing them : thus — 

and Norfolk English words, two, truth, &c. 

the French words, huit, huee, &c. 

French pronunciation, as a contrary tendency to be inexact and careless is characteristically 

sounds ; they vary so much as to be distinct sounds, and actual imitations ; agreeably to what 

with reference to R. F. &c. 



20 




EXAMPLES AND 

THIRD 

The Orals-Sonal, 


PULMON-ORAL. 


J3 
(4) 


V 


= n, in English, an-ger^fin-ger 

-=. ng, in English, hang-er^ sing-er 

=. the first y in Greek, ^9oy-yog, Ey-yvg 


G 


9 


=z g, in English, game, hag, trigger : 

=z g, in French, gand, bagatelle 

:=. T, t, y^ Gamma, in Greek ' 


J 


J 


=: z, in English, view, union 

— i, in French, vieux, adieu \ 

— i, in German, jear, jung; and in English, Hallelu-jah 
=r y, in English, year, young ; and in French, yeux, yeuse 


N 


n 


= n, in English, blind, window ,, 
= n, in French, canne-berge 




D 


d 


— 6?, in English, danger, ladder <>: 
z= 6?, in French, danger, rideau 

— 1, Daleth, in Hebrew 
1= A, §, Delta, in Greek 


Z 


z 


=1 2:, in English, zone, razor 

zz z, in French, zero, zizanie 

— 2f, Xi Zade, in Hebrew ; Z, ^, %eto, in Greek 


M 


m 


= m, in English, mind, lame '4 
zz m, in French, mamelouc, baume f 






B 


h 


=: b, in English, Z><2y, rabbit 

z=. b, in French, bague, rabbin 

= B, |3, C, ^e^«, in Greek 1 


V 


V 

V 


=1 i^, in English, dwarf, dwindle 

zz 0, in French, oie, roi, boi i 

:= ou, in French, o^^^, owze 





(4) The oral sounds r], n, m,j, v, both Sonal and Sural (i. e. Ictal and Spirital) have no 
Pulmonal sounds r, I, any perceptible g7-ave or acute (i. e. Veri-Pulmonal and Ori-Pulm5nal) 
sounds remarkable for these differences, their coalition is illustrated by the examples 



EXPLANATIONS. 

TABLE. 

or Ictals. 



21 



VERI-ORAL. 



J3 



= 72, in English, rank, an-chor 
zz y, in Greek, avay-Ki], Xapu-y^. 



C 



c, in English, c«we, 5«c^, tobacco 

c, in French, colere, saccade 

p, Koph, in Hebrew; K, k, Kappa, in Greek. 



J 



e, in English, /ezfjj petr, Teutonic 
i, in French, J?er, joM, szVc/e. 
>, Jod, in Hebrew. 



2V II n 
3, r, iVw^z ; 



zn n, in English, plant, plenty 
r= w, in French, canne-tille. 
in Greek, N, v, Nu. 



T t 



t, in English, taste, battle 
t, in French, tcte, bateau 
to, Te^A, in Hebrew 
T, T, % Tau, in Greek. 



s 



5, in English, sun, glossy 

s, in French, salut, jeunesse 

D, Samech, in Hebrew ; S, c? Sigma, in Greek. 



Greek, M, 



■=. m, in English, might, champion 
z= 772, in French, pomme, pommette 
H, Mu. 



P II p 



= p, in English, peace, rapid 
=. p, in French, /?az>, lapin 
=3 n, TT, -ra-j Pi, in Greek. 



F ?; 



rz i^, in English, ^t^zs^, sweep 
n: 0, in French, j^z, poids 
z=: ou, in French, ^weif 
=r 7^, in English, quince, queen. 



perceptible pure and impure (i. e. Veri-Oral and Pulmon-Oral) distinction : neitlier have the 
difference in themselves ; nevertheless, inasmuch as they coalesce equally with all the 
adduced, and their differences, if existing, are thus noted. 



22 



EXAMPLES AND 

FOURTH 

The Orals'Sural 



PULMON-ORAL. 


M 


7]h — 7Z, in French, langue, plan i 
■=. ng, in French, long^ rang I 
= ^, ^ain, in Hebrew. 


Gh 
(5) 


gh — gh^ as anciently used in English, lights night, ghost i 
=: J, Gimel, in Hebrew 
= F, the ancient Greek Digamma, 


H 


h =. h, in English, Hero, Hungary '% 
= ^, in French, Heros, Hongroie i 
n, Heth, in Hebrew, and the Greek ( ) irv^vfxa Sao-i>, 


Nh 


nh \ =L n,m French, monde, gronder 
■=. nd, in French, gand, gland 




Dh 


dh — th, in English, ^^Aer, breathe J 
— D, ^, in Anglo-Saxon ' 
= *7, Daleth, in Hebrew. 


Zh 


zh =. z, in English, azure, zz s, in pleasure .[ 
= g, in French, gelee, = J, mjaloux 
— r, 2/iazw, in Hebrew. 


Mh 


mh — m, in French, hombe, bombarde 
:=. mb, in French, chambre, plomb 


in, m r rencn, unaaui, essaim, nom, parjum. 


Bh 


bh z=. V, in English, veil, wave ^n*^ 
=r V, in French, voile, laver 
— n, Beth, in Hebrew. 


Vh 


i;/i 


= wh, in English, whale, wherry 
hou, in French, houari 





(5) This letter [F] and sound [g/«] have, in the accidents of language, eventually assumed 
Roman alphabet, F, f, whose nominal and usual sound is ph. And the sound gh, which, in 
quiescent f as in light, night, sight, bough, plough ; is also, in many others, become ph, as in 



I 



EXPLANATIONS. 23 

TABLE. 

or Spiritals. 



VERI-ORAL. 



^h II 7]h \ ^z riy in French, hanque,Jin 
=. nc, in French, banc, tronc. 



Ch Y^ cli I = ch, in German, licht, nacht, and as anciently pro- 
nounced in English, yacht 
— D, Caph, in Hebrew ; X, Xj C'/iz, in Greek. 



Zf II ^ I 13 ^, in English, hate, hatchet 

= h, in French, hache, hachette. 
spiritus asper. 



Nh II 7z/z I n: w, in French, tente, tenter 
=. nt, in French, chant, dent, 
hrun, jeun. 



Th II til I = th, in English, author, hreath 
zz: p, p, in Anglo-Saxon 
13 n, Tom, in Hebrew ; 0, Q, Theta, in Greek. 



Sh II 5A I it: 5^, in English, sAzp, marshy, wash 
■=z ch, in French, chand,piche, riche 
■=. W, Shin, in Hebrew. 



Mh \\ m I z: m, in French, pompe, tempite 
=: mp, in French, champ, temps. 



Ph II ph I — /?^5 in English, /?^a^^^o?7^. "=■ f, mfame 

zz ph, in French, phrase. ^=: f,m fantaisie 
(5) = Dj Pe, or PAe, in Hebrew. 



Vh II z;/i I zz wh, in English, wheat, whistle 

■=. hou, in French, houache, or hounge. 



the power of joA ; thus, the ancient Greek sign F (g'O has become the sixth letter of the 
some English words, has become g, as in ghost, gherldn ; and in others, is entirely 
cough, trough, rough, enough, laugh. 

D 2 



24 
APPLICATION OF THE PHONARTHRON TEST 

TO THE 

HEBREW, GREEK, & LATIN ALPHABETS. 



22 21 20 19 18 


HEBREW. 
17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 I 


■n -[2/ 1 p -^ 


QyDsobD^tanTinTanK 



Sonals. 



^ 


Vocals. 


Ictals. -^ 


"^^---.^^^ ^ 


! • 1 • 1 ■ 


. 1 D 1 






X 




p 1 -J 1 . 




K 1 . f . 




• Ml- 


• 1 CJ 1 . 


n 1 n 1 . 


Pulmon-Orals. 


Veri- Orals. 


M ^ 1 ^ 


! • 1 • I • 


y 1 . 1 . 
D 1 n 1 3 






\^ 


i . 1 T 1 n 




1 • 1 M • 


n 1 li- 1 . 


^ 


Halitals. 




i SP^^; 


tals. ~^' 



Surals. 



GREEK. 
A.B.r.A.E.Z.H.e.I.K.A.M.N.^Hj.O.n.P.S.T.Y 



X . ^ . O 



a .^ .y . ^ . t .1 . 1] 


. 0. t. K . X . /* 


V . 1 . O . TT . p . 


G . T . V . <p . ■y^ . 


ip . (t) 




A.a| 1 


1 1 


. 1 


\^.v \M.fji 






H. J? 1 P. p 1 O.w 


E .£ 1 ^1 .0 


r. y A.5 |B./3 


K . /c 1 T . r 1 n . TT 




-a 


I. t|A.X|(l).8 


1 — |Y.« 


|z.?i 


is.cl- 






Veri-Pulm5nals. 


Ori-Pulmonals. 

1 r 


Pulmon-Orals. 


Veri -Orals. 


o 
3 


1— 1 


1 1 


1 1 


1 1 




pL, 




1 1 


1 1 i 


1 1 




• ( 1 


1- — 1 


F.(2)| 1 


x.x\o.e\^.<p 






1 1 


1 1 


1 1 


(3)." 1 I 






^ , 




_, 





LATIN. 
A.B.C.D.E.F.G.H.I.J.K.L.M.N.O.P.Q.R.S.T.U.V.X.Y.Z 



.b.c.d.e.f.g.h.i.j.k.l 



p. q 



t . u . V . X . y . z 





A.a| 1 


— 1— 1 — 


1 1 


|N .n|M.m 






E.e iR.rjO. o 


1 1 


G.glD.d] B.b 


C .c| T. t 1 P.p 




'cC 


I. ifL .1 [U.u 


— 1 1 Y.y 


|Z.z 1 


J . j 1 S . s 1 V.v 


O 


s 


Veri-Pulm5nals. 


Ori-Pulmonals. 


Pulmon-Orals. 


Veri-Orals. 


1 


1 [ 


1 1 


1 1 


M 


-^ 


— ■ 1 ■ 


1 1 


1 1 


1 1 






1 


1 1 


F.(7)| 1 


1-^ 1(7). f 






1 


1 1 (6) 


1 1 


H.hf 1 










/ 





NOTE. 

(1) . 8 is a contraction of the two letters o v. (2) . F is the ancient Greek Digamma. 

(3) . ' is the Greek aspirate mark, called spiritus asper, or, Tcvevfia daav. 

(4) . The redundant Greek letters are Sf, ?, and •*", ^. 

(5) . The redundant Latin letters are K, k, Q, q, X, x. 

(6) . Y, y, is named i-grec in French, i. e. Greek-2, or u, or ui (v), hence vi (mispronounced 
ziai) in English. 

(7) . F, f, has the form, and originally the sound, of the Greek Digamma, F {Gh, gh), but 
eventually that of <E>, (p {Ph, ph) ; the same accident has happened to the English gh, as 
instanced in the words cough, enough, pronounced cfTph, enShph. See the foregoing Table, 



25 



NOTIONS AND DEFINITIONS 

RELATING TO THE 

SOUNDS OF SPEECH. 



I. Of Sounds and Letters. 

II. Of Syllables and Syllabication. 

III. Of Accent and Quantity. 

IV. Of Prose ^ Poetry, and Versification. 



I. 

Of Sounds and Letter Si 

— Letters are the signs of sounds. They are, moreover, arbitrary 
signs, as the letters of the alphabet; and they may be imitative signs, 
as the characters of the Phonarthron-Symbol ; and as proposed in the 
Explanation of the Phonarthron-Symbol. For, whereas the fine arts of 
sculpture, design, painting, and music, are said to be imitative arts ; so, 
likewise, are poetry and speech imitative and expressive, and not arbi- 
trarily significative only, but their minute and simple principles of 
imitation require to be more correctly examined than appears to have 
been hitherto the case. 

zzOf the two kinds of sounds, pulmonals and orals, the chief charac- 
teristic contradistinction of the pulmdnals is an mdiQ^mte perdurability, 
and that of the orals a forcibly instantaneous utterance, which is the 
converse : whence, every one of the nine original pulmonals is capable 
of being perfectly sounded alone, excepting the peculiar instance L.I.; 
and every one of the nine original orals is ^capable of being perfectly 

5 



26 NOTIONS AND DEFINITIONS RELATING TO 

sounded alone, or without the aid of a pulmdnal, excepting the cor- 
responding peculiar instance, S. s, 

= Every sound, in general, whether oral or pulmonal, consists, in 
whatever degree, of three parts ; namely — of a beginning or initial 
part, of an enduring or middle part, and of a final or end ; whence, 
also, the characteristic three degrees, major, mediate, minor, of the 
palatal, lingual, labial varieties, whether oral or pulm5nal, exhibited in 
the Phonarthron-Tablet ; where the force or power of sound in the 
minors is initial, that in the majors final, and that in the mediates me- 
dial or middle. 



II. 

Of Syllables and Syllabication. 

= The word syllable is derived from the Greek word avWa^r], which 
literally signifies, in Latin, comprehensio ; and, in English, a collecting, 
or putting together, 
= Syllables are proper and improper, pulmonic and oric. 

1. A syllable, properly so called, is the united effect of two indi- 
vidual simple sounds; the one a vowel (that is, pulmonal), the other a 
consonant (that is, oral). 

2. An improper syllable is either redundant or defective in one of 
these component parts ; namely, defective when consisting only of a 
vowel, or only of a consonant ; and redundant, when consisting of 
a vowel (or vowels) and more than one consonant, or of a consonant 
(or consonants) and more than one vowel. And, note, that two vowels 
or two consonants, which coalesce as one vowel or consonant, are 
called diphthongs, and three vowels or three consonants, triphthongs, 
&c. 

3 — 4. A syllable is pulmonic or oric, according to the relative 



THE SOUNDS OF SPEECH. 27 

position of the vowel and consonant, and according to \\\e pre-eminence 
of the vowel or consonant (that is, pulmonal or oral) power. Thus — 
Cdi Td, Pd^ are perfectly pulmonic syllables, and 'Ac, 'At, 'Ap, are 
perfectly otic syllables ; because, in the former three, the vowel pre- 
dominates, being grave and subsequent, and therefore freely per- 
durable; and that, in the latter three, it is in subjection, being impeded 
and "caught" by the consonant, and so, by natural tendency, acute, 
(that is, ori-pulmonal). But Cd, Td, Pa, are imperfectly pulmonic, 
and ^Ac, ^At, ^Ap, are imperfectly oric, obviously because, and inasmuch 
as, they vary from the foregoing rule. 

Note. That in dissyllables, trisyllables, and in polysyllabic words, 
the ffrave aud acute signs may be omitted over the unaccented syllables, 
because of the comparative brevity and obscurity which is occasioned 
to them, by the comparative perspicuity and pre-eminence of the 
accented syllables; which accented syllables, therefore, may be known 
by this distinction. 

= Syllabication, or spelling, is the art of separating words into their 
constituent syllables; or, rather, of putting these together into words. 

The beauty and perfection of syllabication is the most equal and 
alternate distribution of vowels and consonants practicable. The Italian 
language is more eminent than other languages for this equable and 
agreeable alternation : but in German the consonants are aggregated, 
and in French the vowels accumulate together, in difficult and dis- 
agreeable profusion. 



III. 

Of Accent and Quantity, ^c. 

=:Few terms have had more various and undefined acceptations than 
the word "accent." In one sense it has signified any mark used to 



28 NOTIONS AND DEFINITIONS RELATING TO 

designate the various qualifications and distinctions of speech-sounds in 
written language ; as the rising and falling [that is, the sharp and flat 
relations] of the vocal tones, and the grave and acute distinctions of the 
vowel sounds. In another sense it has signified any peculiar mode or 
manner of pronouncing and speaking in particular languages and 
dialects. And, in a third sense, it signifies the stress which is laid 
on one syllable more than on another in a same word, 
n: Accent and Quantity are correlative terms. Quantity has reference 
to the vowels, and to the vowel characteristic of perdurahility ; and 
accent has reference to the consonants, and to their peculiar character- 
istic of a forcibly instantaneous activity. Quantity, therefore, is pro- 
perly an accident of the pulmonic syllables ; and accent is properly an 
accident of the oric syllables. This contradistinction should be per- 
ceived and understood, although in practical language it is indifferent 
whether a " syllable" be noted as long or strong, provided the syllable 
itself be sufficiently distinguished from the rest. 

= Accent and Prosody are synonymous words; the former being the 
Latin of which the latter is the Greek : thus — 

Ac-centus . Ad-cantus . •\ Relating 

npoo--(j)Sia . npO(7-(i)§?/ . J "to Song." 

but their uses have thus varied. 

Prosody (like Quantity, only as a term of larger import) has been 
applied to the measure of song, poetry, versification ; and Accent to the 
emphasis of speech, and to compositions in prose. By Quantity is 
meant merely the duration of a syllable; and by Prosody, as com- 
monly understood, the doctrine which treats of the quantities, durations, 
or measures of syllables and words in versification. 
== Accent and Emphasis. Accent is stress, and Emphasis is stress, but 
Accent applies to syllables as they are sounds, and Emphasis to words as 
they are meanings. Accordingly, syllables are properly said to be 
accented and unaccented, and words emphatic or otherwise. 



THE SOUNDS OF SPEECH. 



29 



A Table of Marks whose meanings have been mentioned, 
and whose uses may be required. 



Long 


and 


\j 


Short. 


Strong 


. 


and 


1 


Weak. 


Grave 


\ 


and 


r 


Acute. 


Flat 


\ 


and 


i 


Sharp. 



IV. 

Of Prose ^ Poetry, and Versification, 

=: Prose is language merely significant or descriptive : Poetry is lan- 
guage descriptive and imitative also. 

= Again : Prose is language, as it were, ad libitum, and desultory, in 
contradistinction with Poetry or Versification, that is, language regu- 
lated by measure. 

= Poetry, or Versification, is a mechanical arrangement of words by 
measure, according to the accent or quantity of their syllables. 

1. As the particles of significant speech are called words, so the par- 
ticles of a composition in verse are called ^ee^. 

2. A foot is one accented and one unaccented syllable, or a certain 
number of either placed in any determinate order. 

3. A line, metre, or measure, is a stated number of feet of any kind. 
[Note. A foot being composed of two or more syllables accented and 

unaccented, so long as the aggregate of accent or quantity be pre- 
served in the whole foot, or whole line, both the number of syllables, 
and general order of accentuation may be excepted and varied from the 
general rule ; and a good reader will always know how to justify and 



30 NOTIONS AND DEFINITIONS, &C. 

excuse a good poet, and to condemn a bad one, in such cases of excep- 
tion and variation.] 

4. A vej^se^ or rhyme, is a stated number of corresponding lines, 
placed in any given order of correspondence. 

[Note. In Latin and Greek poetry, a line is usually a verse ; but in 
the sense here used, a verse, including several lines, implies a rhyme ; 
which rhyme^ in sound, corresponds with parallelism in sense, as illus- 
trated (almost exclusively) in the treasures of Hebrew, that is, Bible, 
poesy.] 

=z Poetry (which word is derived from the Greek words ttoluo, to make, 
and 7roLr]<jLg, poesy, or a making, that is, verse-making) and Versification 
are literally the same thing ; nevertheless, they are to be distinguished. 

Poetry, as distinguished from Versification, is a vivid correct imita- 
tion, expression, or representation of original ideas, contrasted with 
the mere euphony of measured sounds. Words, or just expressions, 
answer to feet ; sentences, or sentiments, to lines ; and, as above noted, 
analogies, or antitheses, in sense, to rhymes in measured verse. 
=r Prose and Poetry, therefore, are respectively distinguished from 
Versification, as well as Poetry and Versification from mere Prose; 
the spirit of Poetry being separate from either, and yet capable of 
being embodied in both. 

In English we find that rhymed verse is not essential to Poetry, by 
the compositions which exist in blank verse ; and in French we find 
that even metrical lines are not essential to Poetry, by the well-known 
and well-used style, entitled, in France, " La Prose Poetique" 



END of the PHONARTHRON. 



THE 



PHONARITHMON, 

OR 

NUMERAL NOMENCLATURE; 

OR 

UNIVERSAL NAMES OF NUMBERS. 



E 2 



" I beheld, and lo, a great multitude, which 7io man could number." — John, Rev. ch. vii. 
ver. 9. 

" Jesus said, The very hairs of your head are all numbered.'" — Matthew, ch. x. ver. 30, 
and Luke, ch. xii. ver. 7- 

** He expressed the number by a word which involved myriads of myriads." — Sweden- 
BORG, Heaven and its Wonders, section 374. 

" And I doubt not but we ourselves might distinctly number in words a great deal 
further than we usually do, would we find out but some fit denominations to signify them by : 
whereas, in the way we take now to name them, by millions of millions of millions, &c. it is 
hard to go beyond eighteen, or, at most, four- and- twenty decimal progressions, without con° 
fusion." — Locke, Essay on the Human Understanding, Book II. chap> xvi. sect. 6. 



THE 

PHONARITHMON, 

OR 

UNIVERSAL NAMES OF NUMBERS. 



A - 1 




Acan-a =. 


11 




A-can =10 




A-cen 


= 


100 


^ = 2 




Acan-e =z 


12 




E-can zz 20 




E-cen 


= 


200 


7=3 




Acan-i ■=. 


13 




I'Can zz 30 




I-cen 


=z 


300 


S = 4. 


Acan-d^ zz 


14 


Sf'Can = 40 


3-cen 


- 


400 


'Ai = 5 




Acan-ai zz 


15 




Ai-canzz 50 




Ai-cen 


1= 


500 


Alt = 6 




Acan-au zz 


16 




Au-can— 60 




Au-cen 


= 


600 


J2 - 1 


Acan-a- = 


17 


Jl'canzz 70 


Jl'cen 


— 


700 


- S 




Acan-o = 


18 




0-c«7z = 80 




0-cen 


— 


800 


Z7 zz 9 




Acan-u zz 


19 




U-ca?z = 90 




U-cen 


= 


900 


Can = 10 


Ecan zz 


20 


Cen zz 100 


Cin 


— 


1000 


or A- can 




Ecan-a ■=. 


21 




or A-cen 




or A-cin, 





Can = 10^ i. e. 10 
Cen = 102 I e. 100 
Cin = lOM. e. 1000 



Cd^ = 10'' i. e. 10,000 
Cain = 10^ i. e. 100,000 
Caun=z 106 i e 1000,1000 



Cnrn = 107 i.e. 10,000,000 
Con = 10^ i. e. 100,000,000 
Cun = 10^ i. e. 1000,000,000 



Tan = 10^0 i.e. 10,000,000,000 



Tan 
Ten 
Tin 



1010 

Toio 

Toio 



Ts-n: 
Tain : 
Taunz 



1010 

"Tqio 

"iQio 






1010 
Toio 
"Toio 



1. e. 
i. e. 
i. e. 



10,000,000,000 

100,000,000,000 

1000,000,000,000 



I.e. 



I. e. 



10,000,000,000,000 
100,000,000,000,000 
1 000,000,000,000,000 



i. e. 10,000,000,000,000,000 
i. e. 100,000,000,000,000,000 
i. e. 1000,000,000,000,000,000 



Pan = lOioj^'^i. e. 10,000,000,000,000,000,000 



^ The diphthongs At slwAAH are used instead oi R and L, as more convenient; andi? and 
L are elsewhere used in a corresponding place. See the following page. 

5 



34 



THE UNIVERSAL NAMES OF NUMBERS. 



Can 


Cat 


Cap 


Cas 


Car 


Cal 


\Cag 


Cad 


Cah 


Caz 


Tan 


Tat 


Tap 


Tas 


Tar 


Tal 


Tag 


Tad 


Tah 


Taz 


Pan 


Pat 


Pap 


Pas 


Par 


Pal 


\P<^9 


Pad 


Pah 


Paz 


San 


Sat 


Sap 


Sas 


Sar 


Sal 


\Sag 


Sad 


Sab 


Saz 


Ran 


Rat 


Rap 


Ras 


Rar 


Ral 


Rag 


Rad 


Rab 


Raz 


Lan 


Lat 


Lap 


Las 


Lar 


Lai 


! Lag 


Lad 


Lab 


Laz 


Gan 


Gat 


Gap 


Gas 


Gar 


Gal 


1 Gag 


Gad 


Gab 


Gaz 


Dan 


Dat 


Dap 


Das 


Dar 


Dal 


Dag 


Dad 


Dab 


Daz 


Ban 


Bat 


Bap 


Bas 


Bar 


Bal 


\Bag 


Bad 


Bab 


Baz 


%an 

1 


Zat 


Zap 


Zas 


Zar 


Zal 


Zag 


Zad 


Zab 


Zaz 



EXAMPLE. 




One Thousand =: A-cin — 


1000 


Eight Hundred — 0-cen — 


.800 


(and) Forty — Sf-can — 


..40 


1840. 





AN 

IMAGINARY ANALYSIS 

OP THE 

NUMERAL FIGURES. 



1.2.3.4.5.6.7.8.9.0 



1 . is composed of one mark, or line 

2 . is composed of two marks, or lines 

3 . is composed of three marks, or lines 

4 . is composed oifour marks, or lines 

5 . is composed oijive marks, or lines 
Which is the natural number of digits, or fingers 

Moreover, 

6 . is three varied, or added to 

7 . is three varied, or four inverted 

8 . is four, and four inverted 
is three varied, or added to 
is composed of all but its moiety five 



/ 


^ 




^ 


^ 


<^ 


L 


^ 


^ 


^ 




I 


4 


5 


7 


8 













2 


3 




6 


9 





END OF THE PHONARITHMON. 



THE 

PHONODION; 

OR, 

ELEMENTS OF MUSIC. 



A 

NEW AND SIMPLIFIED THEORY, 

PRIMARILY WITH REGARD TO 

-SONG," 

OR 

THE NATURAL MUSIC OF THE HUMAN VOICE; 

AND SUBSEQUENTLY APPLICABLE TO 

THE VARIOUS INSTRUMENTS OF MUSIC. 



" O sing unto God with the voice of melody." 

David, Psalm xlvii. 

The man that hath no music in himself, 
Nor is not moved by concord of sweet sounds, 
Is fit for treasons, stratagems, and spoils ; 
The motions of his spirit are as dull as night, 
And his aflfections dark as Erebus : 
Let no such man be trusted." 

Shakspeare, Merchant of Venice, Act V. Scene 



ADVERTISEMENT. 



The Phonodion, New Method of Music, consists — 

1. In assigning a distinct and appropriate name to every one of the 
twelve tones of the Chromatic Scale ; thereby abolishing or precluding 
the theory oi flats and sharps^ and greatly facilitating, because simplify- 
ing, an attainment of the science of Music. 

2. In assigning a distinct and corresponding note to every one of 
the twelve tones ; which is afforded by substituting a staff of six lines 
for the one oifive, 

3. In altering the make of certain Instruments of Music, particularly 
the KEY-BOARD of the Piano-Forte, for the purpose of subserving 
the use of the Phonodion New Method of Musical Notation. 

Observe — That the trouble of translating Music out of the old or 
present style into the *' Phonodion" new style, is no greater than the 
usual practice of transposing Music from one key to another, in order 
to suit the pitch of different instruments or voices. 



The following letter, and portion of a letter, have been addressed to 
the author and inventor of the Phonodion. 

n" My Dear Sir, 

" In regard to your invention, I hardly need say, that, as a lover 
of the science, I shall most willingly lend my feeble aid to whatever 
will tend to facilitate and advance its cultivation. But you must be 
convinced, that, however beneficial the result of your new method may 
prove, yet it must take a considerable time before our old habits, not to 
say prejudices, can be overcome. In regard to myself, I frankly say, 
that if I find the system improved, I shall, as far as I can (come from 

f2 



40 



what quarter it may), endeavour to promulgate it. Wishing you every 
success you can desire, I remain, my dear Sir, yours very truly, 

'• Thomas Attwood*. 
" Norwood, Surrey, October 2*2, 1828." 

'* Royal Academy of Music, July 6, 1840. 
=:'' Reverend Sir, 

" Your letter accompanying the representation of the subject of 
the ' Phonarthron ^,' having been laid before the Committee of the 
Royal Academy of Music, I am desired to inform you, that the Com- 
mittee decline the offer ^ you have been so obliging as to make, with 
respect to the patent for the exclusive right to manufacture the contem- 
plated key-board. I remain, Reverend Sir, faithfully yours, 

"T. W.J. ViCKERY." 

^ Late Organist of St. Paul's Cathedral, London. 

* The Phonodion Key-Board. See pages 50, 51. 

3 This was an offer to consign to the Committee the power to obtain a patent for the ex- 
clusive right to manufacture the Phonodion Key-board, the proceeds and profits of which to 
be applied to the Funds of the Royal Academy of Music, after defraying expenses. 



INDEX OF CONTENTS. 

PAGE 

The Music-Coil, &c 41 

On the Names of the Musical Tones 43 

On Music, Melody, and Harmony 45 

On the Notation of Music 49 

The Phonodion New Method of Notation, &c 50 

The Phonodion Piano-Forte, and the common Piano-Forte Key-boards, compared 5 1 
The Phonodion New Method of Notation, and the common or present method, 

compared 53 

The Royal Anthem in the Phonodion, and in the common, style of Music, com- 
pared 54 

A Melody for the Phonodion-Harmonicon 56 



THE PHONODION, 



OR 

MUSIC-COIL. 




Ag ' Ed - lb . Jlc - Ot - Up. 



1. There are twelve tones in Music, and the human voice, which are, 
relatively to each other, higher or more contracted, and deeper or more 
expanded. Moreover, the whole twelve are in a state of sequency 
indefinitely repeatable either way; so that any one being taken as a 
first, and twelve higher or twelve lower regularly sung, or sounded, 
from it — there is a complete scale, mode, series, or set ; and the thir- 
teenth is a mimic or repetund of the first, the fourteenth of the second, 
the fifteenth of the third, and so on, as represented in the foregoing 
portraiture of a coil, hence called the Music-coil, 



42 THE PHONODION. 

2. A mode or key is any particular series (of tones in Music, or 
keys on a key-board) named after the note, tone, key chosen as a first, 
which first is therefore called the Tonic of the Mode, or the Key-note. 

3. A scale or clef (which is the French for hey, and derived from 
the Latin clavis) is a stated or determinate series, generally appointed, 
and marking the pitch of the musical tones, by distinguishing them into 
higher and lower orders, which are consequently titled and signified 
thus : — 

Sign. Title or Name. 



X — " The Treble Clef," i. e. the hiyh (contracted) set or series. 

% — " The Tenor Clef," i. e. the middle set or series. 

'H — " The Bass Clef," i. e. the low (expanded) set or series. 



43 



ON THE NAMES OF THE MUSICAL TONES 



= In England the first seven letters of the alphabet, 

A.B.C.D.E.F.G 
are the usual names given to the seven tones of the Diatonic series, and 
called ^a^5, sharps, or naturals, accordingly as required. 

= By foreigners the same seven tones are respectively named thus : 
^ Ut . Re . Mi . Fa . Sol . La . Si 
(c) . (d) . (e) . (f) . (g) . (a) . (b) 
There is no hidden meaning, technical design, or philosophical 
reason for these names, but their origin is curious. They are certain 
chance syllables in a verse taken from a Latin hymn, composed in 
honour of St. John (the Baptist), by Paul Diacomt, about a. d. 774. 
The verse is as follows : 

Ut queant laxis RE-sonareJibris 

Mi-r« gestonim FA-midi tuorum 

Soiu-ve polluti IjA-bii meatum 

S-ancte l-ohannes ^ ! 

=:"In 1746 was published, at Venice, a small pamphlet, entitled Re- 
flexions upon the manner of learning to Sing, with a new method of 
Sol-mi-sation hy twelve syllables, providing for all the keys and accidents 
to which they are subject. 

" The names of the tones or notes were as follow : 

Ut . joa . Re . 5o . Mi . Fa . tu . Sol . de . La . no . Si 
(c) . .(d). . (e) .(f). . (g) . . (a) . . (b) 

^ The Italians say Do instead of Ut, as a preferable enunciation in learning to sing. See 
Burney's Hist. Mus. vol. ii. pages 99. 101. 
2 See Burney's Hist. Mus. vol. ii. page 85. 



44 



ON THE NAMES OF THE MUSICAL TONES. 



" The author, to the memory of the musical student, has formed his 
twelve syllables into four ideal words : 

IjT-pa-RE . ^o-Mi-Fa . tuSoiL-de . La-?zo-Si \" 

= The author of the Phonodion, therefore, is not entirely unsupported 
in his doctrine, that 

" There are twelve tones in Music," 
which tones ought severally to be named and noted independently of 
each other ; moreover, the twelve literal names which he has chosen, 
are chosen with design, as being such that no other of the sounds of 
speech would serve equally well for the purposes to which they are 
applied. And they have, furthermore, this indifferent advantage over 
the Venetian nomenclature, that, "to the memory of the musical 
student they are formed into" two instead of " four ideal words," yet 
with only the same number of syllables in each word — 

Ag-Ed-Ih . Jlc-Ot-Up. 
rzThe names of the "Phonodion" notes or tones are separately pro- 
nounced thus : 



A 


- a 


. as a, i 


n Bath 




and as a, 


in Bas 




E 


- e 


. as ei, 


in Veil 




and as e, 


in FSte 




I 


- i 


. as 2>, ] 


m Field 




and as i. 


in Gite 




J2 


— a- 


. as a, 


in Ball 




and as o. 


in Orbe 







— 


. as 0, 


in Home 




and as o, 


in Role 




U 


- u 


. as w. 


in Rule. 




and as ou, 


in Voufe. 




G 


- 9^ 


. as GiTf 


in Girl 


and as Gueu, 


in Gueule 


o 

3- 


D 


- d^ 


. as Dir, 


m Dirk 




and as Deu, 


in Deuil 




B 


- b^ 


. as Bir, \ 


n Bird 




and as Ben, 


in Beurre 




C 


- C3- 


. as Cur, 


in Curl 




and as Coeu, 


in Cceur 




T 


- ta^ 


. as Tur, 


in Turf 




and as Teu, 


in Createur 




P 


- p^ 


. as Pur, 


in Purse. 




and as Peu, 


in Peur. 






That 


IS, accordin 


g to the It A 


LIA 


N pronunciation 


in general. 





^ See Burney's Hist. Mus. vol. ii. p. 102. 



45 
ON MUSIC— MELODY— HARMONY. 



= Each of these three names has its own peculiar signification, although 
in the license of popular language they are frequently confounded, that 
is, used indiscriminately. 

— Music is ^^ sweet sound^^ the sound of song, or song-sound (that is, 
PuJmonal) opposed to speech-sound (that is, Oral)^; and, in general, 
implies whatever of practice, and whatever of theory, relates to the 
study of "sweet sounds." Melody is the regulated succession or 
sequency of "sweet sounds." And Harmony is their simultaneous 
accordance or agreement — founded on laws in nature, and ascertained 
by the justness of the human ear. 

Again : Music is the substance of Melody, and the subject of Har- 
mony ; Melody is the use of Music, and the object of Harmony ; and 
Harmony is respectively their rule and guide. 

=:In agreement with this distinction of the three relative terms. Music, 
Melody, and Harmony, there are three genera, or kinds of series, in the 
musical tones ; namely, 

1. The Chromatic series, or scales of twelve tones; 

2. The Diatonic series, or scales of seven tones ; and 

3. The Enharmonic series, or scales of three (or four) tones ; which 
latter tones when sung, or sounded, together, and not in succession, are 
called chords. 

Note. — The Chromatic series, or scales, are in a state of succession 
ascending and descending. 

The Diatonic series, or scales, are in a state of succession major 
and minor. And 

The Enharmonic series, or chords, are concord and discord. 

* Pulraonal or musical sound corresponds with sentiment, or soul ; and Oral, or articu- 
late sound, has reference to intellect, or mind : hence, Music, or Song, conveys the Heart's 
feeling ; and Speech, or Language, the Mind's intelligence. 

G 



46 



MUSIC — MELODY HARMONY. 



These are the radical properties or peculiarities of each kind of series 
severally ; and they, furthermore, belong to the others, after the fol- 
lowing manner : 

1. All the Chromatic scales are ascending and descending; 

2. All the Diatonic scales are ascending and descending, and also 
major and minor ; and 

3. All the Enharmonic scales are ascending and descending, also 
major and minor, and also concord and discord. 

All these relative varieties in all the modes are about to be laid 
before the musical student, by means of the names of the tones. 

1. First will be exhibited all the Chromatic scales ascending and 
descending ; 

2. Next will be exhibited all the Diatonic scales ascending and 
descending, major and minor; and, 

3. Lastly will be exhibited all the Enharmonic scales ascending and 
descending, major and minor, concord and discord. 



I. All the Chromatic Scales. 
Ascending — and — Descending. 



12 3 4 5 6 7 8 9101112 


1 


1211109 8 7 6 5 4 3 2 1 


AgedibJ2c o tup 


A 
G 

E 
D 

I 
B 


p u t c Jib i d e g A 


gedibJlcotupA 


AputocJlbideg 


edihJlcotupAg 


g A p u t c Jib i d e 


d i b J2 c t u p A g e 


e g A p u t c Jib i d 


i b J2 c t u p A g e d 


degAputocJlbi 


bJlcotupAgedi 


i d e g A p u to c Jib 


JlcotupAgedib 


J2 
C 

T 

U 
P 


b i degAputocJl 


cotupAgedibJI 


Jib i d e g A p u t c 


otupAgedibJlc 


c Jl b i degAputo 


t u p A g e d i b J2 c o 


c Jl b i d e g A p u t 


u p A g e d i b J2 c o t 


t ocJlbidegApu 


pAgedibJlcotu 


utocJlbidegAp 



MUSIC — MELODY HARMONY. 



47 



II. All the Diatonic Scales. 



MAJOR. 





Ascending 




— 


and 


— 




D( 


fsce 


ndii 


'g- 


f 
1 3 


5 6 8 


10 


12 


1 


12 


10 


8 


6 


5 


1 
3 1 


A e 


i b c 


t 


P 


A 


P 


t 


c 


b 


i 


e A 


c, d 


b Jl 


u 


A 


G 


A 


u 





Jl 


b 


d g 


e i 
d b 


Jl c t 

C u 


V 
A 


9 
e 


E 
D 


9 

e 


p 

A 


t 
u 


c 




Jl 

c 


i e 
b d 


i J2 

b c 


t p 
t u A 


9 

e 


d 
i 


I 
B 


d 
i 


9 

e 


p 

A 


t 

u 




t 


Jl i 

c b 


JX 


u p g 


d 


b 


Jl 


b 


d 


9 


p 


u 


Jl 


c t 


p A e 


i 


J2 


C 


Jl 


i 


e 


A 


p 


t c 


u 


A g d 


b 


c 





c 


b 


d 


9 


A 


U 


t p 

u A 


9 ^ 2 
e d b 


c 




t 


r 
u 




t 


c 


i 
b 


e 
d 


9 
e 


p t 

A u 


P 9 


d i J2 





It 


p 


u 





Jl 


i 


d 


9 P 



MINOR. 





Ascending 




— 


and 


— 




Descending. 


r 
1 3 


4 


6 


8 


9 


12 


1 


11 


9 


8 6 


4 


3 1 


A e 


d 


b 


c 





P 


A 


u 





c b 


d 


e A 


9 d 


i 


Jl 





t 


A 


G 


P 


t 


Jl 


i 


d g 


e i 


b 


c 


t 


u 


9 


E 


A 


u 


t c 


b 


i e 


d b 


Jl 





u 


p 


e 


D 


9 


p 


U 


Jl 


b d 


i Jl 


c 


t 


p 


a 


d 


I 


e 


A 


p t 


c 


Jl I 


b c 





u 


A 


9 


i 


B 


d 


9 


A u 





c b 


Jl 


t 


p 


9 


e 


b 


Jl 


i 


e 


9 P 


t 


Jl 


c t 


u 


A 


e 


d 


Jl 


C 


b 


d 


e A 


u 


t c 


u 


p 


9 


d 


i 


c 





Jl 


i 


d g 


p 


U 


t p 


A 


e 


i 


b 





T 


c 


b 


i e 


A 


p t 


u A 


9 


d 


b 


Jl 


t 


U 





Jl 


b d 


9 


A u 


P 9 


e 


i 


Jl 


c 


u 


P 


t 


c 


Jl i 


e 


9 P 



48 



MUSIC — MELODY — HARMONY. 



III. All the Enharmonic Scales, or common Chords. 

CONCORD. 





MAJOR. 










MINOR. 


Ascending & D 


esc( 


ending. 
5 l' 


Ascen( 


iing & Descending. 


^1 5 


8' 


1 


'8 


"T 


1 


'8 4 l' 


A i 


c 


A 


c 


i 


A 


L4 


d 


c 


A 


c d A 


9 b 
e J2 
d c 




t 

u 


9 

e 

d 




t 

u 


b 

J2 
c 


9 

e 

d 


9 

e 

d 


i 

b 

Jl 




t 

u 


9 
d 


i g 
t b e 
u Jl d 


i 
b t 


p 

A 


i 

b 


p 

A 




t 


i 
b 


I 
b 


c 




p 

A 


i 
b 


pel 
A b 


J2 u 


9 


J2 


9 


u 


J2 


Jl 


t 


9 


Jl 


g t Jl 


c p 
A 

t 9 
u e 

p d 


e 
d 
i 
b 
J2 


c 



t 
u 

p 


e 
d 
i 
b 
J2 


p 

A 

9 
e 

d 


c 



t 

u 

p 


c 



t 
u 

! V 


u 

p 

A 

9 
e 


e 

d 

i 

b 

Jl 


c 



t 

u 

p 


e u c 
d p 
i A t 
b g u 
Jl e p 



DISCORD. 





MAJOR. 












MINOR. 






Ascendir 


ig and Descending. 


Ascending and 

V 


Desce 


nding. 


f 


1 




1 


1 5 8 


12 


1 


12 


8 


5 


1 


1 


4 8 


J2 


1 


12 


8 


4 1 


A i c 


V 


A 


p 


c 


i 


A 


A 


d c 


P 


A 


P 


c 


d A 


g b 


A 


9 


A 





b 


9 


9 


i 


A 


9 


A 





i 9 


e Jl t 


9 


e 


9 


t 


Jl 


e 


e 


b t 


9 


e 


9 


t 


b e 


d c u 


e 


d 


e 


u 


c 


d 


d 


Jl u 


e 


d 


e 


u 


Jl d 


top 


d 


i 


d 


p 





i 


i 


c p 


d 


I 


d 


p 


c i\ 


b t A 


i 


b 


i 


A 


t 


b 


b 


A 


i 


b 


i 


A 


b i 


Jl u g 


b 


Jl 


b 


9 


u 


Jl 


Jl 


t 9 


b 


Jl 


b 


9 


t Jl\ 


c p e 


Jl 


c 


Jl 


e 


V 


c 


c 


u e 


Jl\ c 


Jl 


e 


u c 


A d 


c 





c 


d 


A 








p d 


c 1 


c 


d 


p 


t g I 





t 





i 


9 


t 


t 


A i 





t 





i 


A t 


neb 


t 


u 


t 


b 


e 


u 


u 


9 b 


t 


u 


t 


b 


9 u 


p d Jl 


u 


p 


u 


Jl 


d 


1 

p 


p 


e Jl 


11 


P 


u 


Jl 


e p 



Note. — Hence, every common Chord has a literal Name, which may 
be pronounced as a technical Word. 



ON THE NOTATION OF MUSIC. 



ay^/e^^.-c^/v^ /urmyyc/^ At.^-^ a^rv<^/iMAyu. ofU^^^A-^^ru/^ (yUa^(yrL^^. ^^ 
yru^^^^.^/e£</y aJ ^ ;4lu^, y^^Uy/- aJ d^^^c^^i/AeJ ; em^ a.c^:^^t^ynJ- o/'^xAmu^^ /^nM^n^y 

/^£Jd y/n.ayyiy^^-^^^'^'<'<y<^^ {z/ ' ^ yJ/u-ecA y; ccyf^L^ Oy-'^^/i^-c^c/icyy/iyn^-u^ ^y/n£y' 

ji^i/nyC<Ay^ c^/^LyPu-c^^^;, c^^^te/thi^^, ayru:^ ^lyCzAyrp^-^y^TfyUy-^ clJ y^yOy^urn-^Oyiy, oyriyc/y 

ty^ y^L£-cc^ ayrt^ ^,i^-(yfriy^y!^6y/€e^ ^x:^!^^ c^ o'^}{^-/ky/urny ycJ yy?-z,cH.c^ i?^;M&4.£^^ 
oyru/y^ ^x>^^^ ay c<?rnyA^.y4yu>-o^iy y/y?'i.J-^y/^^ 

y^yr?y C-(7^1y?^.y77'ty'..i-C<i^. 

(_J^/y<J y-c^Tfy^i^Hyi^^^L^^ y^ crt/tiMyi^^ yi^^^--<^^^yiynyy/^iey Ccc^-ey^ o^y/nycJ tyK£,cc^ 
7^n£ynx:H^ yC(-&iyri^ ay<yu?Ay/kccyj y'r/7j&y y/t€i^'rt^:^-6a.-^4y(^^ 01^ a^^^ yryt.zx.J-(y(y c^i^c^ e^^ 
y/njeyAyteJ-eyyv-A^J-^y-c&yyy^^ c^-i^yOcHy^ (;>'Cc-ay^k^O'f^yyrzye^ayte^€iy/- 

jgyi/ yAy<:hiyy-^/teyy^/^4yaynyy^ c^^^u^ ^^TtZy^je^ny y^!^ ^A,^^^ 

^^4yC^/7'i^ cm^eyy^ce^^ a^ y -^f^pz^-a!^ , ycynyA>' ayn-^r/nsyty, y^^^,e^-Uy0^y</njeyy/i^cyi4>nya7^ 
-^Z^f^LytyAy^cc-CaA^^yC-z^-A^t-cy^^^ ^^iyy" ^yi/t^-CCeJ . 

yiyriyfytpAiAeJ o^y^njex:£ji^-^yn^ ceAyAu^yvy' tZyAAyt-€iyAy<Trt^yiypzy ceAyAiyyny tATJA-^^y-rruynA' 
^ ey^v£iycJ-i^ ^Ay^tytyAy>iyyAaytAz^ yCyny^Anjey c^CctytAy^ co^n^ C^T^yzyt^^iJ^^t^/LcH^ (?iy 
^^i<^-'ny?- <J&±^y ^x^yA,c^y/iy y^aJ^^eyiy^ c^^yi^^ a^ .-■Aiiyy-T'n.^d^y /^yyriyCyCcoAy 

ciyn-o^ y^yT-zy c^m^iy^^-TytTTiyyC'cJ-e''^ Oy iAeJ^-lyy/iA-trf-zy ay?^L^ Aje^i^t^te4£y^iy^4z.^Ac^7^y £r^ 



y/nx-d^ ay'^^AeyUiy/iy?^^^^ yC-T^y ycyA, oAje^^ oyAf-tP-- y>^^<?^y^ /ii£j~eynyAe^-A^,yA^ 



THE PHONODION 

NEW METHOD OF MUSICAL NOTATION. 



Ag.Ed_Id. 




M.c_Ot^U/j 



THE 



Three. Scal^cs, ot Cle/s^ ajrboC th^ ''J^Jw7^^dz/7r?S"J\kTio-Tart€' JC^'hoccrd. 



TCNOff 




THE 
P/ANO-FOf^TE . 



n u^ E I jx u^ E I Ji o\u ^ E I Jl u^ 



JS\I 



Jl 



OBSEffi^E. 






'J. tymyj^/^y/^ey^Jta^ro -^ytyv'v^ ,^iy'yaxe/:i!^ yc.(yrut^^ 



THE 
PHONODION PIANO -FORTE AND THE COMMON PIANOFORTE 
KEYBOARDS COMPARED. 



THE COMMON P/AAfOrORTE HEYBOARO. 



C/t.Bff.Fff.G-/f.A/t 



D^.i:i> 



n 



D B 



&h .Al^.B^ 



m 



SolZo\Si 



C^.jD/tf F/i.^.Aff. C/if.na .Fff.a^.A/^. Cli.B» 



D^ H. 



n 



UtRe^J&FoASolZcL 



D 



F 



&i> .M.Bi> 



T 

FcASol 

f\g- 



n 



Sv 



B^ .Fj/f 



n 



B 



&/> .A^.BJ> 



Bl>.F:i> 



m 



SotZoy Si- 




F^.G/f.AJ^B^ 



Crl^ AliBb 



m 



SoZ La Sry 



THE PMOAfOOfO/¥ P/AAfO FORTE ffEYBOARO. 



Ik y yiki k yiy y ^sm y i^'y ii yid ^ i^?y y yiy y yi 

^_^|^T EI^aOU^EIJl O [/I B F Jl\0\u\^ f\f\JX 



DESCRIPTION. 



6'. J^vc- /icUy^<u-<y^4y dc^^^yU<nyC£j j^auJ^^ y^~^y4^^€£yny ^^^ y/A^rru^^Cu^f^ Jte^- 

.nt€(yz/. {!U^ a^t/^UJ-e-i/y y^-^e^zuz-TTi^cyyuyn^ .y^4-^My/UJ/ve^>1^^c/^ cA^iUX^^, aJ ayf^^ 

(:^£^!^^^ay?^.e^^ ayrc^ /zyti^ aJ f^iyC-o-c^" — 

Z 'jLy./i4^ &m^n^o^7y.^^yn^- Jc^-ty^y./^^J^'i^ri/-^^^^ ayUy a^/i^^Aypaz^>myiy/e/^^ 

cjiyty/ey, .y'^y^yyt/-y;4^eyuJ aAjzyy/fyozy^^y^-e-^ ay^^Ay9z^ay^ ^^cc^/i^ y/n.^y'C^^ 
(f. t-'^-ty y</^y (^^^;^^^x?^^^-f'7^_/^ :^2.<>^^- i,^£^ .yi'^eAjey aytey\,Aeyi^e^ y(!yrnya^ y4.e^u^^ ay<n^ 

/^^^ayroi:^- tJMy^y //[e-t^ ayt^ y^ux> . y^y?iny7,,/^£yuJ gy^^u/y ^Jt^^x^ ^ 



y-ny^ 



.//icy ^h^^/iZyv^ £/y>J/i^n^yyyJn£y/yyi:!yyy ceyt<4zy:.-rcy,j/ie.(U-c-/c^zyt^^ 



z^c/oayUy/ieJ ayte- Oyiyf^/utytyi^^ ayn^Ly ^^T-ruzy^ ,y<:^ c<^yz^J^c^^n.£^y/€^ 
./A^' g^/y/fy^rzy ayrL</^ y/Oy^/ey (^ ./n.e^ ^y^'^T^ciyri^c<.^/iiy>Ayyt£yt^^ 

./cez^^ ^?^^^-^ y-^-ey yi^?ty^ayy/y yU'^iy/ny cyr^-i^e^ yOt^^yt^, c^ty^z^^ytyiy y^kyzyty/:<>€yyCaAy ^Xyu^yfn.^iy^ 
./^ <^<U■ih4^^^^MyJ/^Ju/< /^ (^^'C^-ny . .-t^^/eytayy ynyzyf^'ie y yyny^yzycCy c^^eyi^-eyty^ crn£y^y/n£y 

J-cypcy ^ym^ . K£yuJ /?7Zyzyj/. .-^ACy -^yny^^tc^Tty.yy^ ^^ {^-com^^ a^^ytytoAytyyzyi^ co/<?^y ymyyy^—- 

A ^ /te^.^ ^tayn^y. ^_ M/^^ch^. ^_ ^^^^^^-. _^_ y/^/uj^. _^ y^y^^^^ty^. 
tirty <^ a^ ,^7/^zy!.ce'/C. c^ .^ /^yrn y^tymyy^Ay yZ-^Cay^^ ciyrukyMytyy/n.£y^.{^tZ'^r?Z£y,.£yn^ 
y. J^tynyfyUyiy- . J^-i^J^^i^^^yCcO y^^eyA^ey^'^Ty^^ aJ cuayte^^ ay:fyv't^yrt^/k^^y^n^ 

aJ yC-?^^ </i4jRy Ct^^T^zyrrvc^y y<y:v-ny?--<^y'cyty/ey, yMjey^J^^^/y^eynyy^ e^J^e--^ ^^yn^^gyiy^e^tyiy /^e^tyyz^- 
'^/^Zy<yy (?^ty ^eyf^<y/i€^ytyrny?-nyyiy ^y^ ''li'^4y77z.c>^y.oi7riy<^yzy?zyr-- 

(i>^^^^ .y^^^,^i<i^^:<^^^?z^^x^y' ,<^x'^:.^ Oy^ ayey4£y ,- ,J-<y.. 



i^rLe-' J^eyUe^ y^ ,^iny?^-<yy^ ;%^y^i^<5^t.e't/>C^^:^^^-^?^-^^^^:^ ayU. a^/f^ yey>^€^-iyyny. 






THE PHONODION ja 

NEW METHOD OF MUSICAL NOTATION 




THE PHONOOION 
TREBLE, TENOR, 
on SASS CLEF. 



/ Z. 3. ^. J. 6. 7. d 9. /O. // (Z. 




J. 6. 7. 



(^^:/. t^yiy.-Zi^ y^^h.cci/' /m£yMy/^(/^ ^^cA^i^iJunty, y/njey ^yl'luJ^^cci^O' 'Jo^'ZjeJ //t 

/>^rbe/4^-i^, y/n^ (^iA^o'?^'ULy/uy yJxyU^ y^^e<yn^ c-A^J-eyf'iy^ ./n^ .Vs??-^ co7r^o/ea:. M^^y^y 

JorbeJ xyrt^ _j^y/^My ^dMyoeJy yU^^^eA^e^cJ ^x.<fyiy yM^-^ .'^^^^^^y" /9-r?yC-/n^r/.- 



. y^<A/rzyr?x:^y y. 



■ri' €>^- 



yo-ny 



A-ye<oc/y <7f^ t^' </^c<p^AM.^ffyey?'^i^''rL/T' 






OU. 



THE ROYAL ANTHEM, coTrvnvorv 

IN THE OLD AND NEW STY LI 

SA 



^.D.lOSd. 



Ood. 



3i=3= 



Gr-e^it^ 



JCCTTI^^ 



JS^ , 



f 



i 






i 



JiOTL^ 



^ J^7i<7, 



Qfcif: 



■^ 



^^ 



^^. 



tJve. 



^^ 



.^>?>/ . 






^^m 



; >: tt £ :^ - 



Tvorri' 




vjsRjSje it. 



CoTv/v7A:rLoL tfvezyr pOlCtl-(UT 

O JCW& zciS aZL. 









'Ud. '^GOD SAVE THE KJNC 
MUS/C COMPARED . 



^.D.m39 




)\^/ea:^z^n.t/^e^ 



VERSJE H. 



OJjordy; ojzr Gody curiae' 
Convert oiat' e^'ie^ruiej^ 

^oct&TLdy OUT- poIztC&y 
Methe^ n^y tras. CathoTzc^^ 



y/f^e^ L^^iAJ-/^ a^ru^C 






se 



MELODY 



^ 



OU 8 



PHONODION - HARMONICON* 






J'e. 



f ' f '^^ 



^z^ 












.£. • 



-1U^^-ft-^:± Egg ^^=4^F^^^^:;J^ 






m 



\^ 



Cp . TcL- 






Jit . Cp 



To. 



Fe 



lo. Cp 






Jit 



Cp . jiJb 



^ r 

Up .To 



t^^^yA yyvc^M^ '^^.^ctA' y^o^^'i 



/m^ (yL-<ny^ p^z,-^. 



yAA^.y?^c. ' yAt?- A-e-AuruA 
Oyf-vcA C-OyriyfA y-Tt^crA yAo-c^ ^^^A^^I^Tu- y^^ 

'-yvM^'t^Airte^-^ yAA^e^Tf.-'^ yAo^7A-e<!:h^ '-A^cH^y- y^eA^i^TTy yAA-e-^m.^ AAi:;tyA cAe..a,A ^^Ate'a^cAyeAy?-c<jAu/^ 
ct^n^yAi^uAejA AAyyy yAma,cc^ A^A^^n. AAe^ ^^^y'-ocA^e^ cAeyiyi?iycA£yAA -AA.^ yrriyz/ny^ 
yAAyx^A yj yrn^cHj^ yi^fyxAAe-^H^ yAAyxy^^ yA.^ . __ 

U ^A^AiyA^ . yAy?^.cy yA.yZy^ (rUAcLyy?^vc^ y/A^^^^^ ^^^ ayrcyAy^ 

(^ /ATlui-Ayn/y ,.^-(A^. AAy?cc-' .'Ayx^ ^^eyh4t-AAcym^eyA AAoe^nty f^ c(?iA-S^Aymy. \1 ^'' 



(A^A^y ''^^A^m^c'tAiy^^y iALctAyryi.^rnyeyurny ycJ ayf^ y{yrtJAiyyfyr?t.0-rhA- (TyAy-T-^z^cyL^f^-oc^ 
cuAyi^.'AfA yA^-yAA^e^ yA^Ay:^ri,otAcy^y7^-'" 'A9?.eAAy?^ (^ A^9Zi^uf-(y>^ yC^»zy yAA.ey yz^ye^tzAy ayA<n/~€y 
/ryLeynyAcyrn..e^Ay / AutyZ/ ayn-cA^ ^J-AyAA- yyn^., AA^e^ cy^UyAA-c^^ yAu^JJ&JJcc^^^t^ 



£/V{? Of THE PNOA/OD/O/V . 



PHONARTHRA 
ANGLICA-GALLICA, 



AN 
APPLICATION OF THE PHONARTHRON 

TO 

"ENGLISH" AND FRENCH 
PRONUNCIATION. 



Extera quid quaerat, sua qui vernacula nescit 



H 



ADVERTISEMENT. 



The Author of the " Phonarthra'' Anglica-Gallica does not pretend to 
impart, through the' medium of a book, that perfection or proficiency in 
native accent^ which can only be acquired by a correct ear^ and the 
habit of good society in either France or England ; all that he under- 
takes to afford is, the aid of an infallible guide to a pronunciation of 
French and English, so true and right, as cannot but be fully intelligible 
to those who hear the pronunciation uttered. 



h2 



INDEX OF CONTENTS, 



PAGE 

I. The English or French Alphabet , 61 

II. Remarks upon the Alphabet ...... 63 

III. The Enghsh and French Sounds 65 

IV. The English and French Sounds, or Orthoepic Letters, illustrated in 

words where they occur 68 

V. The two sorts of Syllables, in Alphabetic series 70 

=Enghsh and French examples in Orthography and Orthoepy. 

VI. The Names of Numbers 72 

VII. The Names of Times and Seasons 74 

VIII. A few short Sentences , 'JQ 

IX. Anecdote of a Heathen Prince and some Primitive Christians 78 

X. The Blind Poet's Address to the Light — Remarks 82 

XI. The Prayer of our Lord 94 

XII. Alliterative Curiosity in both the French and Enghsh Tongues 92 



Gl 



THE ENGLISH OR FRENCH ALPHABET; 

THAT IS, 

THE ORTHO-GRAPHIC LETTERS. 



Numeral 


Roman 


Phonarthric 


French 


English 


Order. 


Character. 


Name. 


Name. 


Name. 


1 


A . a 


A . a 


A . a 


E . e 


2 


B . b 


B^ 


Be 


Bi 


3 


C . c 


C^ 


Se 


Si 


4 


D . d 


D^ 


De 


Di 


5 


E . e 


E . e 


E . e 


I . i 


6 


F . f 


Ph^ 


Eph 


Eph 


7 


G . g 


G^ 


Zhe 


Dzhi 


8 


H . h 


m 


Ash 


Etsh 


9 


I . i 


I . i 


I . i 


Ai . ai 


10 


J • J 


j^ 


Zhi 


Dzhe 


11 


K . k 


a 


Ca 


Ce 


12 


L . 1 


L^ 


El 


El 


13 


M . m 


M^ 


Em 


Em 


14 


N . n 


m 


En 


En 


15 


O . 


. 


O . o 


O . o 


16 


P . p 


P^ 


Pe 


Pi 


17 


Q. q 


Cu 


Cu 


Cju 


18 


R . r 


R^ 


Er 


Ar 


19 


S . s 


S^ 


Es 


Es 


20 


T . t 


TV 


Te 


Ti 


21 


U . u 


U . u 


t . U 


Ju . ju 


22 


V . V 


V^ 


Bhe 


Bhi 


23 


W . w 


Vu 


Double Bhe 


Double Ju 


24 


X . X 


Cs^ 


Ics 


Ecs 


25 


Y . y 


Vi 


I-grec 


Vai 


26 


Z . z 


z^ 


Zed 


Zed 



62 



THE ENGLISH OR FRENCH ALPHABETS. 



The Alphabet otherwise arranged, according to the organic analogies, 
excepting the Five Vowels. 



Palatals 


C. c 


K.k 


Q.q 


X.x 


H.h 


J.J 


G.g 


Palatals. 


Linguals 


T. t 


S.s 


L.l 


N.n 


R.r 


Z.z 


D.d 


Linguals. 


Labials 


P.p 


Y.y 


W.w 


M.m 


F.f 


V. V 


B.b 


Labials. 



63 



REMARKS ON THE ALPHABET 



I. The word Alphabet is composed of the names of the two first 
letters of the Greek Alphabet, Alpha-Beta ; which names are them- 
selves derived from the names of the two first letters of the more 
ancient Hebrew Alphabet, Aleph-Beth. 

n. The Alphabet is a list, or catalogue of the letters, signs^ or cha- 
racters used to represent the sounds of speech. 

ni. The real number of the sounds, however, is by no means repre- 
sented by the actual number of the alphabetic signs or letters ; several 
of the letters being redundant, or duplicate signs of the same sound, and 
several of the sounds having no express letters to signify them at all ; 
hence— 

IV. The Orthography (or correct writing) of a language, and the 
Orthoepy (or correct pronunciation) of a language, do not always 
correspond ; that is, the Orthography does not exactly represent the 
Orthoepy \ 

V. It is, therefore, a desideratum in every language, that, independ- 
ently of the orthographic letters of the Alphabet, the definite number of 
sounds discoverable, be discovered, and noted by their own peculiar 
signs or letters, which shall invariably represent them only^ for the pur- 
pose of explaining, by their means, the Orthoepy (or true pronunci- 
ation) of words written in the standard, but inadequate, redundant, and 
variable letters of the alphabet, 

VI. This desideratum, therefore, being achieved, in behalf of the 
English and French languages, is now presented in the following table 

^ The words Orthography and Ortlwepy are derived from the Greek words OqQoq — rights 
Tpa^w — to write or engrave, and Ettw — to say or speak» 



64 



REMARKS ON THE ALPHABET 



of the " English and French Sounds,'* or " Orthoepic Letters,'* which 
shows, that, whereas the letters of the Alphabet are twenty-six in num- 
ber (including all redundants) ; the simple original sounds utterableand 
discoverable amount to thirty (two) in English, and to twenty-eight in 
French, besides several particular variations, imitations, and com- 
binations of simple sounds, which have been mistaken for additional 
distinct simple sounds. 



65 



THE ENGLISH AND FRENCH SOUNDS 



THE ORTHOEPIC LETTERS. 



Palatals. 


Lingua 


Is. 


Labials. 


A . 


a 


3 




3- 


J2 . fr 


B . 


e 


R 




r 


. 


/ . 


i 


L 




I 


U . u 


J . 


'{ 


S 

z 




s 

z 


\ V . V 


H . 


'{ 


Sh 

Zh 




sh 
zh 


\ Vh . vh 


C . 


c 


T 




t 


P , p 


G . 


9 


D 




d 


B . h 


-Ch . 
.Gh . 


ch-i 


Th 




th 


Ph . ph, 


Dh 




dh 


Bh . bh 


c2( . 


^ 


N 




n 


M , m 


10 






12 




10 



ph, i.e. F . f 



32 



I. Thus there are Jive letters in the Alphabet which are redundant ; 
namely, K, Q (which have the sound of C), X (which stands for C5, 
or gz), and Y, W (which sometimes signify J, F, and sometimes 
/, U), 



11. On the other hand there are twelve sounds noted in the above 
table, which (with one exception, viz. Ph . ph, i. e. F . f) are not 
numbered in the Alphabet ; namely, 



66 



THE ENGLISH AND FRENCH SOUNDS. 



rGh 
Lch 


chJ 


Dh 


. dh 


Bh 


hh 


Th 


, th 


Ph 


ph 


3 


• 9- 


%h 


. zh 


J2 . 


nr 


3 


• V 


Sh 


. sh 


Vh . 


vh 



[Gh and Ch] indeed have no actual existence in modern French or 
English ; but on account of their ancient use, and visible remains in the 
Orthography, they are put in their places in the table. Again : Dh and 
Th are not French, but only English sounds. And further : J3 in 
French, is really the J3A in the Phonarthron ; but this distinction is not 
worth noting, and this observation is sufficient to point out the usual 
practical difference of e3 . ;; in the two languages. 



THE ENGLISH AND FRENCH SOUNDS, 

OR 

ORTHOEPIC LETTERS, 

ILLUSTRATED IN WORDS WHERE THEY OCCUR. 



l2 



68 



THE ENGLISH AND FRENCH SOUNDS, OR ORTHOEPIC 

ENGLISH EXAMPLES. 



Grave and Impure Sounds. 


Pure and Acute Sounds. 


S 

si 


y^ . « zz «5 in A«rm .father 
E . e = e, in great . weight 
I . { zz i, in shield . priest 
J 'j = i, in vieio. zzj, in Hallelujah 
H . h zz ^5 in Aero . Hungary 
G . g =. g, in game . beggar 
[Gh. gh zz gh, in ghost . night~\ 
rZ . 7] = 72, in anger .finger 


a zz fl!, in man . marry 
e z: e, in crest . merry 
i z= i, in print . chilly 

j zz e, in feio, pew, Teutonic 
h = h, in hate . hatchet 
c zz c, in cane . tobacco 

[ch zz ch, in chasm . yachf] 
7] ZZ 72, in rank . anchor 


3 


Cc:/' ^ — re, m herd, ro, iu wore? -i 3 
' 9- — U.io. bird . \_u,va.curd] 

R . r := r, in grain . negro ^ 

L . I =: Z, in blind . sable ^ 

Z . z := 2", in zone . razor 

Zh . zh zz z, in azure . zr 5, in pleasure 

D . d ■=: d,in danger . ladder 

Dh. dh zz th, in father . breathe 

N . n zz 72, in sun, window 


I zi 0, in love . zz u, in cup ^ 
r zz r, in C7'ust . accrue ^ 
I zz Z, in plant . simple ^ 
s zz 5, in sun . glossy 
sh zz sh, in ship . marshy 
t zz t, in taste . battle 
th zz th, in author . breath 
n zz 72, in pan . plenty 


IS 


Jl . n- zz a, in hall, zz 0, in boy 

0.6 zz 0, in home . stone 

U . u zz w, in truth . = 00, in goose 

V . V zz ?^, in ivar . dwarf 

Vh . vh =. wh, in whale . wherry 

B . b = Z», in bag . rabbit 

Bh . bh z= v, in veil . wave 

M . m zz m, in mind . lame 


n- zz «, in watch . = 0, in rock 

6 zr 0, in obey . romance 

u = 2^, in bull . zz 0, in wolf 

V =: 2^, in weep . sweep 

vh zz wh, in wheat . whistle 

p zz p, in peace . rapid 

pli •=. f in fame . zz ph, in phantom 

m zz 772, in might . champion 



3 . d' > This sound is the same as that described in French as ["e muet'"'] the mute e, when 

sounded as in the words ^e, me, le, te, se, &c. See the " Phonarthron," Examples and Explanations, 

Second Table— the Halitals. 

2 Neither the English nor the French pronounce the R . r final, nor do the Frenc?i pronounce the 

L . I final, as they ought, or as they think to do, but the French pronounce them both as Halitals 

(aspirates) ; and the English pronounce B- instead of?- — thus : 

f ogre, ochre, in English, ^ are really f not og-r, och-r, f but og-S^, oc-9'. 

The several I I I J 

< ordre, cent7-e, in French, > and usually < not rrrd-r, s/rr^t-r, < hnt fTrd-rh, s(r7]t-rh. 

^ {^Bihle, ftoMcfe, in French, J pronounced \^ not Bih-l, huc-l, [^'bnt Bih-lh, buc-l7i. 

Note. That in some syllables the vowel sound is so obscure, or doubtful, as not to require the grave 

or acute sign of distinction at all. 



69 



LETTERS, ILLUSTRATED IN WORDS WHERE THEY OCCUR. 

FRENCH EXAMPLES. 



Grave and Impure Sounds. 


Pure and Acute Sounds. 




rA .d 


=. a, in dme . cable 


a 


=z «, in ami . mari 




E .i 


zz. e, in fete. =r oi, in foible 


e 


— e, in bonte .festin 


, 


I .i 


rr i, in gite . cerise 


I 


=. i, in colibri . biribi 


'B 


J J 


= i, in vieu , adieu 


3 


■=. i, infer . pied . siecle 


£ 


H .h 


= h, in heros . Hongroie 


h 


zz A, in hache , hachette 


G ,g 


=: ^, in gand . bagatelle 


c 


zz c, in colere . saccade 




iGh. gh 


= ] 


Ich 


— 1 




J^ ' V 


— 72, in plan . =. ng, in rang 


V 


zz n, in fn . =. nc, in banc 




[3 .^ 


=z eu, in beurre . creuse ^ 


3- 


zz eu, in feu . peuplier ^ 




R . r 


= r, in grain . ne'gre (rh) 


r 


=: r, in crin . sucre (rh) 


cc 


L A 


— Z, in blond . sable (Ih) 


I 


zz Z, in flamme . nefle (Ih) 


c3 

3 


Z ,z 


=. z, in zero . zizanie 


s 


zz 5, in saint .jeunesse 


hJU 


Zh . zh 


=r J, in jour . =z ^, in rouge 


sh 


— ch, in chaine . hache 


^ 


D .d 


— d, in danger . rideau 


t 


±: f, in tete . bateau 




IDh. dh 


= ] 


[th 


zz .] 




^N .71 


— n, in canne-berge 


n 


zz 72, in canne-tille 




CJ2. i^ 


zz 0, in mort . mordre 




zz «, in banc . banque 




.6 


iz 0, in role . rosier 


6 


zz 0, in loto . domino 




U .H 


— ou, in roM^e . pelouse ^ 


u 


— ou, in joujou . vouloir 


-2 


V ,v 


zz oz, in roz , bois ^ 


V 


zi ou, infouet .fouetter 


^ 

c^ 

J 


Vh. vh 


=z hou, in houari ^ 


vh 


zz hou, in houache or houage 


B .h 


zz 5, in 5«^?/e . rabbin 


p 


iz p, in paix . lapin 




Bh.hh 


zz u, in voile . laver 


ph 


—f in fantaisie . zz ph, inphrase 




Jd . m 


zz 772, in mamelouc . baume 


m. 


zz 777, in pommette . pomme. 



1 In addition to the general sounds of B , U, V, Vh, there are variations from them in French, 
which are effected by an extreme contraction of the mouth or lips in enouncing them : thus — 

v?7 . u ■=. u,m the French words pure, flute — and in the Suffolk and Norfolk English words 

two, truth, &c. 
vF . V ■=z u,\n the French v}OxdiS puis, suite, &c. 
^Vh . vh =z hu, in the French words huit, huee, &c. 
A tendency to mince, contract, and be very perspicuous, is, indeed, characteristic of French pro- 
nunciation, as an opposite tendency (to be inexact and careless) is characteristically English. Still, 
however, these sounds are so much contracted, as to be distinct sounds and actual imitations. See the 
" Phonarthron," Explanation of the Phonarthron Tablet, 



70 



THE TWO KINDS OF SYLLABLES, PULMONIC AND 



THE PULMONIC SYLLABLES. 



Ba 


be 


hi 


ho 


hu 


Ca 


ce 


ci 


CO 


CM 


Da 


de 


di 


do 


du 


Fa 


fi 


fi 


fo 


f^ 


Ga 


9^ 


gi 


90 


gu 


Ha 


he 


hi 


ho 


Wm 


Ja 


> 


fi 


jo 


> J 


Ka 


he 


ki 


ko 


« 


La 


le 


li 


lo 


H 


Ma 


me 


mi 


mo 


mu ^1 


Na 


ne 


ni 


no 


nu 1 


Pa 


pe 


pi 


po 


pu J 


Ba 


re 


ri 


ro 


^^k 


Sa 


se 


si 


so 


su 


Ta 


te 


ti 


to 


tu 


Va 


ve 


vi 


vo 


vu 


Wa 


we 


wi 


wo 


wu 


Ya 


ye 


yi 


yo 


yu 


Za 


ze 


zi 


zo 


zu 



71 



ORIC, EXEMPLIFIED, IN ALPHABETIC SERIES. 







THE ORIC SYLLABLES. 




Ah 


eh 


ih 


oh 


uh 


Ac 


ec 


ic 


oc 


uc 


Ad 


ed 


id 


od 


ud 


4f 


ef 


if 


of 


uf 


Ag 


^9 


«> 


09 


ug 


Ah 


eh 


ih 


oh 


uh 


Ax 


ex 


ix 


ox 


ux 


Aq 


eq 


iq 


oq 


uq 


Al 


el 


il 


ol 


ul 


Am 


em 


im 


om 


urn 


An 


en 


in 


on 


un 


Ap 


ep 


ip 


op 


up 


Ar 


er 


ir 


or 


ur 


As 


es 


is 


OS 


us 


At 


et 


it 


ot 


ut 


Av 


ev 


iv 


ov 


uv 


Aw 


ew 


iw 


ow 


uw 


Ay 


ey 


iy 


oy 


uy 


Az 


ez 


iz 


oz 


uz 



72 



THE NAMES OF NUMBERS. 





ENGLISH WORDS 




FRENCH WORDS 


AND 


THEIR PRONUNCIATION. 


AND 


THEIR PRONUNCIATION. 


I 


. One 


. V^n 


1 


. Un-Une 


. '3frj—un 


II 


. Two 


. Tu 


2 


. Deux 


. D^ [z] 


III 


. Three 


. Thri 


3 


. Trois 


. Trvr? [z] 


IV 


. Four 


. Phos' 


4 


. Quatre 


. Cdtrh 


V 


. Five 


. Phaihh 


5 


. Cinq 


. Sdrjc 


VI 


. Six 


. Sics 


6 


.Six 


. Sis—Siz 


VII 


. Se-ven 


. Sebh-en 


7 


. Sept 


.Set 


VIII 


. Eight 


,'Et 


8 


. Huit 


. "^Fhit 


IX 


. Nine 


. Nain 


9 


.Neuf 


.N^ph 


X 


. Ten 


. Ten 


10 


.Dix 


. Dis—Diz 


XI 


. E-le-ven 


. I-lehh-en 


11 


. Onze 


.'Orjz 


XII 


. Twelve 


. Tvelhh 


12 


. Douze 


. Duz 


XIII 


. Thir-teen 


. Thd^-tin 


13 


. Treize 


. Trez 


XIV 


. Four-teen 


. Ph^-tin 


14 


. Qua-torze 


. Cd-tnrrz 


XV 


. Fif-teen 


. PMph-tin 


15 


. Quinze 


. Cdr^z 


XVI 


. Six-teen 


. Sics-tin 


16 


. Seize 


. Sez 


XVII 


. Se-ven-teen. Sehh-en-tin 


17 


. Dix-sept 


. Di-set 


XVIII . Eigh-teen 


. 'E-tin 


18 


. Dix-huit 


. DiS'Vhit 


XIX 


. Nine-teen 


. Nain-tin 


19 


. Dix- neuf 


. Dis-rid-ph 


XX 


. Twen-ty 


. Tve7i'ti 


20 


. Vingt 


. Bhdrj 



73 



THE NAMES OF NUMBERS. 





ENGLISH WORDS 




FRENCH WORDS 




AND THEIR PRONUNCIATION. 


AND THEIR PRONUNCIATION. 


X 


. Ten 


. Ten 


10. 


Dix 


. Dis — Dix 


XX 


. Twen-ty 


. Tven-ti 


20. 


Vingt 


. Bhdri 


XXX 


. Thir-ty 


. Th9:-ti 


30. 


Trente 


. Tra-nt 


XL 


. For-ty 


. Ph^-ti 


40. 


Qua-rante 


, Cd-rn-nt 


L 


. Fif-ty 


. PMph-ti 


50. 


Cin-quante 


. Sdii-Cfrnt 


LX 


. Six-ty 


. Sics-ti 


60 


Soi-xante 


. SvfT-Zn-nt 


LXX 


. Se-ven-ty 


. Sebh-en-ti 


70 


Soi-xante-dix 


. SvfT-zn-nt-dis 


LXXX 


. Eigh-ty 


. 'E^ti 


80 


Quatre-vingts 


. Cdtrh hhdri 


XC 


. Nine-ty 


. Nain-ti 


90 


Quatre-vingt-dix ,Cdtrh hhd7]-dis 


C 


. Hun-dred 


. Hln-^dred 


100 


Cent 


. Srfi] 


C 


. One hun-dred 


. Vs^n hln-dred 


100 


Un cent 


. Br] Smi 


CC 


. Two hun-dreds 


. Tu liln-dredz 


200 


Deux cents 


. Da- SfTT] 


CCC 


. Three hun-dreds 


. Thri hin-dredz 


300 


Trois cents 


. Trvr^ srfrj 


CD 


. Four hun-dreds 


. Phcrr hln-dredz 


400 


Quatre cents 


. Cdtrh srfrj 


D 


. Five hun-dreds 


. Phaihh hln-dredz 


500 


Cinq cents 


. Sd?] sm] 


DC 


. Six hun-dreds 


. Sics liln-dredz 


600 


Six cents 


. Sis Srrj] 


DCC 


. Se-ven hun-dreds 


. Sebh-en hln-dredz 


700 


Sept cents 


. Ses sn-T] 


DCCC 


. Eight hun-dreds 


. 'Et Idn-dredz 


800 


. Huit cents 


. ''Vhi srfrj 


CM 


. Nine hun-dreds 


. Nam hln-dredz 


900 


Neuf cents 


. N'd' SfTTl 


M 


. Thou-sand 


. ThaU'Zand 


1000 


. Mille 


. MU 



74 



THE NAMES OF TIMES AND SEASONS. 



ENGLISH WORDS 


FRENCH WORDS 


AND THEIR PRONUNCIATION. 


AND THEIR 


PRONUNCIATION. 


The day 


. DM di 


Le jour 




. Ld- zhur 


The night 


. DM nait 


La nuit 




. ILa nvi 


The hour 


, DM au-3> 


L'heure 




.r^r 


The week 


. DM vie 


La semaine 




. La s'min 


The month 


. DM mi-nth 


Le mois 




. La- mv(Y 


The year 


. DMjid- 


L'an 




T'> ' 

, JLj nrri • 


One thou-sand 


. Vd-n thaU'Zand 


Mil 




,Mil 


Eight hun-dred 


. 'Et hln-dred 


Huit cents 




,-VMsf^ri 


and for-ty 


. and ph(r-ti 


Qua-rante 




. Cd-rrrnt 


The morn-ing 


. DM mrr-nirj 


Le ma-tin 




. La- md'tdij 


The fore-noon 


. DM phfT-nun 


L'a-vant mi- 


■di 


. Udhh-frri ''^i'di 


The af-ter-noon 


. DM dph-td-nun 


L'a-pres mi- 


^di 


, L^d-pri mi-di 


The ev-en-ing 


. DM ibh-niT] 


Le soir 




. Ld- sv/r{r) 


Sun-day 


. Sln-de 


Di-manche 




. Di-mfTTish 


Mon-day 


. Mdn-de 


Lun-di 




. La-n-di 


Tues-day 


. Tjuz-de 


Mar-di 




. Mar^di 


Wed-nes-day 


. Venz-de 


Mer-cre-di 




. Mer-cr-di 


Thurs-day 


. TUz-de 


Jeu-di 




. ZU-di 


Fri-day 


. Frai-de 


Ven-dre-di 




. Bhf^i^-dr'-di 


Sa-tur-day 


. Sdt-9.-de 


Sa-me-di 




. Sdm-di 


East-er 


. 'Is-U 


Paque 




.Pdc 


Mi-chael-mas 


. Mic-l-mas 


La Saint Mi 


-cliel La Sdri Mi-shel 


Christ-mas 


. Cris-mas 


No-el 




. No- el 


Mid-sum-mer 


. Mid-slm-9^ 


La Saint Jean 


. La Sdr] Zhfrt] 



75 



THE 


NAMES OF TIMES AND SEASONS. 


ENGLISH WORDS 


FRENCH WORDS 


AND THEIR PRONUNCIATION. 


AND THEIR PRONUNCIATION. 


The Spring 


. DM Sprir] 


Le Prin-temps 


, La. Prdt^-tm) 


March 


. Mdtsh 


Mars 


. Mars 


A-pril 


. 'E-pril 


A-vril 


, 'Abh-ril 


May 


.Mi 


Mai 


, Mi 


The Sum-mer 


. DM Slm-9^ 


L"E-te 


n'Et-e 


June 


. Dzhun 


Ju-in 


. Zhu-ttTj 


Ju-ly 


. DzMi-lai 


Juil-let 


, Zhul-je 


Au-gust 


. ^Jl-gB-st 


Aout 


. lA-y^ 


The Au-tumn 


. DM'Jl-tB-m 


L'Au-tomne 


n'O-ton 


Sep-tem-ber 


. Sep'tem-hd- 


Sep-tem-bre 


, Sep-ta-m-brh 


Oc-to-ber 


. 'Jlc-td-h3^ 


Oc-to-bre 


. 'Oc-to-brh 


No-vem-ber 


. No-hhem-ba- 


No-vem-bre 


. No-bhn-m-brh 


The Win-ter 


. DM Vin-ta, 


L'Hi-ver 


. ULbhir 


De-cem-ber 


. Di-sem-bs^ 


De-cem-bre 


. De-sn-m-brh 


Ja-nu-a-ry 


. Dzhdn-jic-e-ri 


Jan-vi-er 


. Zhn-n-bM-e 


Feb-ru-a-ry 


. Feb-ru-e-ri 


Fev-ri-er 


. Phebh-ri-e 


Child-hood 


. Tsliaild-hud 


L'En-fance 


. L" Jl7]-phfr7]s 


Youth 


. Jutli 


La Jeu-nesse 


. La Zhd'-nes 


Man-hood 


. Man-hud 


L'A-do-les-cence L' ' A-do-les-fr7]S 


Age 


. 'Edzh 


T-a Vi-eil-lesse 


. La BM-il-jes 


The East 


. DM '1st 


fL'Est 
LL'O-ri-ent 


. n'Est 

. L'O-ri-fTT] 


The West 


, DM Vest 


rUOuest 
tuOc-ci-dent 


. L'Vest 

. n'Oc-si-do'T^ 


The North 


. DM N^th 


fLe Nord 
\LeSep-ten-tri- 


. L^ N^r 

on La-Sep-tfrri'tri-OT] 


The South 


. DM Sauth 


fLe Mi-di 
LLe Sud 


. Ld. Mi-di 
. La, Sud 



k2 



76 

ENGLISH 

Orthography and Orthoepy. 



I. Af-fec-tion for one's pa-rents is the foun-da-ti-on of all 

' Aph-ec-sbb -on phnt virUz pi-rents iz dhi phaun-de-sN-on rfbh rrl 

the vir-tues. 
dhi hh^'tjuz, 

II. No-thin^ is more de-Iight-ful, than to be with one's friends. 

Nd-'thiT] iz moB- di-lait-phul, dhdn tu hi vidh vItlz phrendz. 

III. Mu-tu-al lov~ing-kindness is the great bond of hu-man 
Mju-tju-al Ubh-iri-caind-nes iz dhi gret hn-nd n-hh hju-man 

S0"ci-e-ty: with-out it life is un-ea-sy, full of ap~pre-hen-si-on and 
so-sai-i-ti : vidh-aut it laiph iz In-i-zi, phul nrbh dp-ri-hen-sN-on and 

dis-qui-et. 

dis-cvai-et, 

IV. Con-sci-ence is the voice of the soul, pas-si-on is the voice of 

Cfrn-sN-ens iz dhi hh<ris n-hh dhi sol, pd-sh'-on iz dhi hhn-is rrbh 

the bo-dy ; which of the two should we o-bey ? 
dhi hfr-di; vhitsh n-hh dhi tu shud vl o-be? 

V. True ho-nor is im-mu-ta-ble : it de-pends nei-ther up-on age, 

Tru rrn-or iz im-ju-ta-bl : it di-pendz nai-dhs^r Ip-crn edzh, 

coun-try, nor pre-ju-dice ; it re-sults e-ter-nal-ly from the un-al-te- 
cln-tri, ncr pre-dzhu-di-s ; it ri-zllts i-t^-na-Ii phram dhi In-a-l-ta^- 

ra~ble laws of du-ty. 
ra-hl Irrz rfbh dju-ti, 

VI. The rose is beau-ti-ful, re-fresh-ing, and sweet-scent-ed, but 

Dhi roz iz bju-ti-phul, ri-phresh-it], and svit-sent-ed, bit 

it has its thorns. 
it hdz its thtrnz. 

VII. The sim-pli"ci-ty of na-ture is more love-ly, than all the 
Dhi sim-pli-si-ti n-bh ni-tja-r iz mOd- Ubh-li, dhdn rrl dhi 

em-bel-lish-ments of art. 
em-bel-ish-ments rrbh at. 



77 

FRENCH 

Orthography and Orthoepy. 



I. L'af-fec-ti-on en-vers ses pa-rens est le fon-de-ment de toutes 
L^dph-ec-si-OT] o-ri-bher se pd-rrfrjZ e U phoTj-d'-ntrrT] d^- tut 

les ver-tus. 
le hhiv'tu. 

II. II n'y a ri-en de plus a-gre-a-ble que d'etre au mi-lieu de ses a-mis. 
II nH a ri-drj ds-pluz a-gre-a-hlh cs- d^e-trh o mil-jd~ ds- sez d-mi, 

III. Une bi-en-veil-lance mu-tu-elle est le grand li-en de la 
"^Un hi-d7]'hhel-jfr7]S mu-tu-el e U grn-i] li-dri ds- la 

so-ci-e-te hu-maine ; et sans elle la vie est in- corn-mode, pleine de 
so'si-e-te u-men ; e sn-riz el la hhi et drj-co-mod, plen do- 

crainte et d'in-qui-e-tude. 
crdrf e d'drj-ci-e-tud. 

IV. La con-sci-ence est la voix de Tame, les pas-si-ons sont la 
La cdrj-si-o-7]S e la bhvn- ds- Vdm, le pa-si-ot] sdt] la 

voix du corps ; la-quelle des deux voix faut-il e-cou-ter ? 
hhvfr du crr ; la-cel de da^ hhvtr phot-il e-cu-te ? 

V. Le so-lide hon-neur n'est point va-ri-a-ble : il ne de-pend, ni 
Ls- s6-lid on-B-. rCe pvn-r] bhd-ri-a-hlh : il no- de-pn"t]i ni 

des temps, ni des lieux, ni des pre-ju=ges; il a sa source e-ter-nelle 
de tfTT], ni de Ijd^^ ni de pre-zhu-zhe ; il a sa surs e-ter-nel 
dans la re-gle in-al-te-ra-ble de ses de-voirs. 
drrr^ la re-gl in-dl-te-rd-blh ds- se d'-bhvnr, 

VI. La rose a sa beau-te, sa frai-cheur, et son o-deur ; mais elle 
La roz a sa bo-te, sa phre-sh^r, e son d-d&- ; mez el 

a aus-si ses e-pines. 
a o-si siz e-pin, 

VII. La sim-pli-ci-te de la na-ture est plus ai-ma-ble que tons les 
La sdm-pli-si-te da- la nd-tur e pluz e-md-blh ca^ tu lez 

em-bel-lisse-ments de I'art. 
rrm-bel-is-nnrTj ds- Vdr, 



78 

ENGLISH 

Orthography and Orthoepy. 



Es-teem of a Hea-then Prince for certain Chris- ti-ans. 
'Es-tim trbh e Hi-dhen Prins fir sl-ten Cris-ti-anz. 



CoN-STAN-Ti-us Chlo-rus ^ oncc is-su-ed a pro-cla-ma-ti-on, that 
Crrn-stdnshi'd-s Clo-rd-s vlns isshu-d e pro-da-mi-sN-on, dhdt 

all Chris-ti-ans who oc-cu-pied pla-ces in his go-vern-ment, should 
trl Cris-ti-anz hu rrc-ju-pai- d ple-sez in hiz go-bh-d-rn-ment, shud 

of-fer sa-cri-fi-ces to Ju-pi-ter and the o-ther hea-then gods, on 
ffph-d- sdc-ri-phai-sez tu Dzhu-pi-t^[r^ and dhi d-dh-a. hi-dhen gn-dz, rfn 

pain of be-ing de-priv-ed of their si-tu-a-ti-ons. Some of them 
pen frhh bi-irj di-praibh-d n-bh dheo- sit-ju-e-sh''-onz, Sim n-bh dhem 

com-pli-ed with the or-der, by means of which, how-ev-er, the so- 
Cifm-plai-d vidh dhi rr-da^, bai minz trbh vhitsh, hau-ebh-a-, dhi srr- 

ve-reign on-ly in-tend-ed to try them. Ac-cord-ing-ly they fell 
hho^ren on-li in-tend-ed tu trai dhem. ^ Ac-crrd-ir^-li, dhi phel 

un-der his con-tempt, and he dis-miss-ed them for ev-er from his pre- 
d-n-da^r hiz cn-n-tempt, and hi dis-mis-t dhem phn-r ebh-o- phrn-m hizpre- 

sence. One of this prince's cour-ti-ers, de-sir-ing to know the mo-tive 
zens. Vd-n abh dhis prins-iz crrt-ja-z, di-zair-iri tu no dhi mo-tibh 

of a pro-ceed-ing which ap-pear-ed so strange, — " Men," replied 
(rbh e pro-sid-ir] vhitsh d-pir-d so strenzh^ — " Men,^^ ri-plai-d 

Con-stan-ti-us, "who sa-cri-fice their re-li-gi-on to their in-te-rest, 
C/rn-stdn-shi-ds, " hu sdc-ri-phais dheo- ri-lid-zK -on tu dhir in-ts-rest^ 

are ca-pa-ble of an-y de-re-lic-ti-on ; and I could not ex-pect that 
d ci-pa-bl n-bh en-i de-ri- lic-sh'-on ; and ai cud nn-t ecs-pect dhdt 



^ Constantius Chlorus, Emperor of Rome, died at York, in the province of Britain, 
A. D. 306. 



ENGLISH ORTHOGRAPHY AND ORTHOEPV. 79 

those per-sons whose dis-grace you are sur-pris-ed at, should prove 
dhoz pi-sonz huz dis-gres ju a ss^-praiz-d at, shud prubh 

more faith-ful to me than to their God." The em-pe-ror then en-no- 
mod. plieth-phul tu mi dhdn tu dhes- Gd-d.'' Dhi em-pd-r^ dhen en-no- 

bled and en-rich-ed those Chris-ti-ans, who i-ma-gin-ed they were 
hVd and en-rifsh-t dhoz Cris-ti-anz, hu i-mad-zliin- d dM vea- 

brav-ing his an-ger and re-venge, in re-fus-ing to do ho-nor to his 
hrebh-iri hiz di^-ga- and ri-hhenzh, in reph-juz-irj tu du o-na- tu hiz 

false gods, and he ev-en con-fid-ed to them the pro-tec-ti-on of his 
phrrls gn-dz, and hi ihh-en crfn-phaid-ed tu dhem dhi pro-tec-sK -on n-hh hiz 

per-son. 
p^-son. 



80 

FRENCH 

Orthography and Orthoepy, 



Es-time d'un Prince i-do-la-tre pour les Chre-ti-ens. 
'Es-tim d^lt] Prdns i-do-ld-trh pur le Cret-jdr]. 



Con-stance Chlore fit pub-li-er a line cer-taine e-poque, que 
Cor^-strrns Clor phi puh-li-e a un ser-ten e-poc, Cd- 

tous les Chre-ti-ens qui oc-cu-pai-ent des places a son ser-vice, 
tu le Cret-jdr] ci 6c-cu-pe dd pids-z d sor\ ser-hhis, 

eus-sent a of-frir des sa-cri-fices a Ju-pi-ter et aux au-tres di-vi-ni-tes 
usH a oph-rir des sdc-ri-phis- z a Zhu-pi-ter e oz o-trh di-hhi-ni-te 

du pa-ga-nisme, s'ils vou-lai-ent res-ter en charges. Quel-ques-uns 
du pd-yd-nism, s'il bhu-le res-ter o-t] shdrzh. Cel-c'z Ir^z 

o-be-ir-ent a cet or-dre, par le-quel on a-vait seule-ment vou-lu les 
o-bi-ir't a set dr-drh, par h-cel on d-hhe Sd-F-mo-rj hhu-lu lez 

e-prou-ver. lis s'at-ti-rer-ent le me-pris du prince, qui les chas-sa 
e-pru-hhe, lis s' dt-ti-rer- Is- me-pri du prdns ci le shds-sa 

pour ja-mais de sa pre-sence. Un de ses cour-ti-sans a-yant vou-lu 
pur zhd-me da- sa pre-zn-ns, 3ri d^ se cur-ti-zo-r^z i-jn-T] bhu-tu 

ap-pren-dre de lui le mo-tif d'une con-duite qui pa-rais-sait aus-si 
d-prrr7]-drh da- Ivi U mo-tiph d'un c07]-dmt ci pa-ris-set o-si 

e-trange: " Les hommes qui sa-cri-fi-ent leur re-li-gi-on a leur 
e-trfTTjzh : " Lez 6m ci sdc-ri-phi h r'-li-zN-ot] a llr 

in-te-ret," lui re-pon-dit Con-stance, " sont ca-pa-bles de man-quer a 
dn-te-re,^' Ivi re-por^-di Cori-stn-ns, "50?; cd-pd-bV do^ mn-ri-cer d 

tous leurs de-voirs : et je ne pou-vais es-pe-rer que ceux, dont la dis- 
tu h d'-bhviT : e zha- no- pu-bhez es-pe-re cs- Sd-, dor] la dis~ 

grace vous a sur-pris, me fus-sent plus fi-deles qu'ils ne I'ont e-te 
grds bhuz a sur-pri, ma- phus plu Ji-del ci'l ng- Vdrjt e-te 

1 



FRENCH ORTHOGRAPHY AND ORTHOEPY. 81 

a leur Dieu." Le prince com-bla en-suite, de bi-ens et d'hon-neurs, 
a hr Djly JLs- prdns cdi]-hla n-i^-smf, ds^ bi-df^z e d'o-n9.r, 

les Chre-ti-ens qui cro-yai-ent bra-ver sa co-lere et sa ven-geance, en 
le Cret-jdr] ci crfr-je hrd-hhe sa co-ler e sa hhn-ri'zhn-ns, rrj] 

re-fu-sant de sa-cri-fi-er aux faux dieux, et il leur con-fi-a meme la 
re-phu-zrrri da^ sdc-ri-phi-jer o pho djl, e il Is^r co7]-phi-a mim la 

garde de sa per-sonne. 
gdrd^ da- sa person. 



Qui est in-fi-dele a son Dieu, pent I'etre a son Prince ! 
Ci et dij-phi-del a soi] Djl, ps- Vet?' a so-q Prdns ! 



83 

ENGLISH 

Orthography and Orthoepy. 



The Blind Poet's Ad-dress to the Light 
Dhi Blaind Po-et's A-dres tu dhi Lait. 



MILTON'S PARADISE LOST, BOOK IIL 



Hail, ho- 


ly Light ! 


Off-spring 


of Hea-ven 


first-born ; 


HiU ho- 


ti Lait! 


Jlph-spriTi 


f^bh He-bhn 


fi-st-btrn ; 


Or, of 


the E-ter- 


nal, co- 


e-ter- 


nal beam; 


J2r, (rbh 


dhi'^i-td- 


nal, co- 


i-t^- 


nal bim ; 


May I 


ex-press 


thee unblam'd 


? since God 


is Light, 


Mi at 


ecs-pres 


dhi-^n-bUnCd 


? sins Gird 


iz Lait, 


And nev- 


er but 


in un- 


ap-proach- 


ed Light 


And nebh- 


^ bdt 


in In- 


a-protsh- 


ed Lait 


Dwelt from 


E-ter- 


ni-ty, 


dwelt then 


in thee, 


Dvelt phnl-m 


I-t^- 


ni-ti, 


dvelt dhen 


in dhi. 


Bright ef- 


flu-ence of 


bright es- 


sence in- 


cre-ate ! 


Brait eph- 


lumens nbh 


brait es- 


ens in- 


cri-it ! 


* 


* * 


% * 


Be-fore 


the sun. 


* 


% % 


# * 


Bi-phi? 


dhi sin, 


Be-fore 


the hea-vens 


thou wert. 


and, at 


the voice 


Bi~ph^ ' 


dhi hebhnz 


dhau V9.t, 


and, at 


dhi bhfris 


Of God, 


as with 


a man- 


tie, didst 


in-vest 


Jlbh Gird, 


dz vidh 


a mdn- 


tl, didst 


in-bhest 


The ri- 


sing world 


of wa- 


ters dark 


and deep, 


Dhi ral- 


zit] vUd 


n-bli V(r- 
1 Bi-phiT, or Bi-phbS 

l2 


tS'Z ddc 


and dip, 



84 



ENGLISH ORTHOGRAPHY AND ORTHOEPY. 



Won from 
Vm phrn-m 


the void 
dhi bh^id 


and form- 

and phrrm- 


less in- 
les in- 


fi-nite. 
phi-nit. 


Taught by 
Tfrt hai 


the hea-ven- 
dhi hebhn- 


ly muse 
li mjuz 


to ven- 
tu bhen- 


ture down 
{/V daun 


The dark 
DM ddc 


des-cent, 
di-sent, 


and up 
and Ip 


to re- 
tu ri- 


as-cend, 
a-send, 


Though hard 
Dho had 


and rare, 
and reV, 


thee I 
dhi ai 


re-vis- 
ri-bhiz- 


it now, 
it nau, 


And feel 
Andphil 


thy sov- 
dhai s/rbh- 


ran vi- 
ran bhai- 


tal lamp ; 
tal lamp ; 


but thou 
bit dhau 


Re-vis- 

Bi'bhiz- 


it'st not 
if St nrrt 


these eyes, 
dhiz aiz, 


that roll 
dhat rdl 


in vain 

in bhen 


To find 
Tu phaind 


thy pier- 
dhai pis-- 


cing ray, 
sir^ re, 


and find 
and phaind 


no dawn ; 
no drrn; 


So thick 
So tliic 


a drop 
a drrfp 


se-rene 
si-rin 


hath quench'd 
hath cvensNt 


their orbs, 
dher rrbz, 


Or dim 
Jl dim 


suf-fu- 
suph-ju- 


si-on veil'd. 
zhon bheVd. 


Though with 
Dho vidh 


the year, 
dhi jid^, 


Sea-sons 
Si'Zonz 


re-turn ; 
ri't^n ; 


yet not 
jet nn-t 


to me 
tu mi 


re-turns 
ri-tlnz 


Day, or 
Dd, n- 


the sweet 
dhi svit 


ap-proach 
a-protsh 


of e-ven 
(rbh ibhn 


or morn, 
rr mrrn, 


Or sight 
J2 salt 


of ver- 
rfbh bhl' 


nal bloom, 
nal blum. 


or sum- 
fr slm- 


mer's rose, 
d-z roz, 


Or flocks, 
J2 phlrrcs. 


or herds, 
rrr hldz. 


or hu- 
(rr hju- 


man face 
man phis 


di-vine ; 
di-bhain ; 


But cloud 
Bit claud 


in-stead, 
in-sted, 


and ev- 
dnd ebh- 


er du- 
9- dju- 


ring dark 
ri7] ddc 


Sur-rounds 
Sd-raundz 


me, from 
mi, phra-m 


the cheer- 
dhi tshia^- 


ful ways 
phul vez 


of men 
frbh men 



ENGLISH ORTHOGRAPHY AND ORTHOEPY. 



85 



Cut off; 


and for 


the book 


of know- 


ledge fair, 


Ck o-ph ; 


and phtr 


dhi buc 


i^bh nffl- 


edzli phcQ^, 


Pre-sen- 


ted with 


a u- 


ni-ver- 


sal blank 


Pri-zen- 


ted vidh 


aju- 


ni-bh^- 


sal bld7]C 


OfNa- 


ture's works. 


to me 


ex-pung'd 


and ras'd, 


jihh m- 


tJB^'z VB^CS 


tu mi 


ecs-plnzNd 


and ris't, 


And Wis- 


dom at 


one en- 


trance quite 


shut out. 


And Viz- 


dom at 


Vd-n en- 


trans cvait 


shd-t aut. 


So much 


the ra- 


ther Thou, 


Ce-les- 


ti-al Light, 


So mltsh 


dhi rd- 


dhd^ Dhau, 


Si-les- 


tjal Laity 


Shine in- 


ward, and 


the mind 


through all 


her pow-ers 


Shain in- 


Vfrd, and 


dhi maind 


thru (rl 


ho- pau^d.z 


Ir-ra- 


di-ate : there 


plant eyes, 


all mist 


from thence 


/-re^- 


djet : dhea- 


plant aiz, 


(tI mist 


phrn-m dhent 


Purge and 


dis-perse. 


that I 


may see 


and tell 


P^dzh and 


dis-p^(r)s, 


dhat ai 


me si 


and tel 


Of things 


in-vjs- 


i-ble 


to mor- 


tal sight. 


c/2bh thiT]Z 


in-bhiz- 


i-bl 


tu mfT- 


tal sait. 



S6 



RE-MARK.— RI-M AC. 



It is an o-pi-ni-on in France, that De-lille, the trans-Ia-tor of Mil-ton, 
It iz an o-pin-jon in Phrans^ dhdt De-Hl, dhi trdns-U-tor n-hh Mil-ton, 

has ex-cell-ed the o-ri-gi-nal bard him-self. This, in-deed, is some- 
haz ec-sel-d did o-ri-dzhi-nal had him-selph. Dhis, indid, iz sd-m- 

times the case, but not in the spe-ci-men now ad-duc-ed. The fact is, 
taimz dhi ces, hit urrt in did spe-si-men nau ad-jus- d. Dhiphdctiz, 

a trans-la-tor takes ad-van-tage of the o-ri-gi-na- tor's hum-bler flights, 
a trdns-li-tor tecs dd-hhdn-tedzh n-hh dhi o-ri-dzhi-ne-td-' z hlm-hlB- phlaits, 

then to e-mu-late his mo-del in those par-ti-cu-lar soar-ings which are 
dhen tu em-ju-let hiz mrr-del in dhoz pa-tic-ju-la sor-ir]Z vhitsh a 

more suit-ed to his own ta-lent. Thus, Pope al-so some-times e-mu-lates 
moV sut-ed tu hiz on td-lent. Dhls, Pop trl-so slm-taimz em-ju-lets 

Ho-mer ; but then the po-et-ry is no more that of Mil-ton or Ho-mer, 
Hd-mQ- ; hit dhen dhi po-et-ri iz no mds- dhdt rfbh Mil-ton or Ho-md-, 

but of Pope and De-lille. In the fi-nish of mo-dern style, and in a 
bit (rhh Pop dnd De-lil. In dhi phi-nish n-hh mn-ds-n stail, dud in a 

de-scrip-ti-on of the more fa-vor-ite com-mon to-pics, the latter may 
di-scrip-sh' -on n-hh dhi mda- phe-hhor-it cn-m-on trr-pics, dhi Idt-s- mi 

re-al-ly ri-val the form-er ; but, in sub-li-mi-ty, sim-pli-ci-ty, en-er-gy, 
ri-al-i rai-hhal dhi phfrm-B- ; hit, in slh-li-mi-ti, sim-pli-si-tii en-B-dzhi, 

and o-ri-gi-na-li-ty, Ho-mer and Mil- ton, and al-so Shake-speare, must 
dnd o-ri-dzhi-nd-li-ti, Ho-ma-r dnd Mil-ton, dnd also Shic-spia-, mist 

ev-er stand a-loof and a-lone, in-im-it-a-ble, and un-ri-val-led, by trans- 
ehh-a- stand a-litph dnd a-lon, in-im-it-a-hl, dnd In-rai-bhal-d, hai trdns- 

la- tors. 
le-td-z. 



87 



FRENCH 

Orthography and Orthoepy. 



In-vo-ca-ti-on a la Lu-mi-ere, du Poete a-veu-gle. 
' Ari-hho-cd-si-OT] a la Lu-mi-er, du Po-et d-bh^-ylh, 

TIREE DU 

PARADIS PERDU, LIVRE TIL 

TRADUIT 

PAR J. DELILLE 



8a-lut, 


clar-te 


du jour. 


e-ter- 


nel-le 


lu-mi-ere. 


Sd-lu, 


clar- te 


du zhur, 


e-tir- 


nel-{9-) 


lum-jer. 


Du Ci-el 


la fille 


ai-nee 


et la 


beau-te 


pre-mi-ere, 


Du Sjel 


la phil- 


je-ne 


ela 


ho-te 


pr'm-jir. 


Peut-e- 


tre du 


Tr^s-Haut 


ra-yon 


co-e- 


ter-nel. 


Pa.^6- 


trh du 


Tri-Ho 


rd'jorj 


co-e- 


ter-nel^ 


-Site 

-Si tB. 


nom-mer 


ain-si 


n'out-ra- 


ge point 


le &el !- 
hSjel! . 


nom-er 


dtj-si 


nhit-rd- 


zh(^) pvn-T] 


Que dis- 


je ! Dieu 


t'u-nit 


a sa 


di-vine 


es-sence ; 


a di-- 


zN ! Djl 


fu-nif 


d sa 


di~hhin 


es-rrrjS : 


Dieu meme 


est la 


lu-mi-ere, 


et sa 


tou-te- 


puis-sance. 


DJl mem 


e la 


lum-jSr, 


^ sa 


tU-t(B^) 


pvis-iTT^S, 


Com-me 


d'un pa- 


vil-lon. 


s'en-vi- 


ron-ne 


de toi. 


Com-(9^) 


d'd^T] pd- 


hhil-joT], 


s^(r7]-hhi' 


ron-(9) 


da- tVfy. 


E-cla- 


tant ta- 


ber-na- 


cle, ou re- 


sid-e 


ton roi, 


E'cla- 


to-rj fd- 


her-nd- 


cZ, u re- 


zid-{^) 


to7] rvft^ 


Bril-lant 


e-cou- 


le-ment 


die sa 


gloire im- 


mor-telle. 


Bril'jfriit 


e-cii- 


V-mrrt] 


da- sa 


glvtrr im- 


rrr-tel 




% 


* 


* 


* 


* 




% 


# 


* 


# 


# 



88 



FRENCH ORTHOGRAPHY AND ORTHOEPY. 



Sa-lut ! 


Av-ant 


qu'un mot 


eut en- 


fan-te 


le monde. 


Sd-lli ! 


Abh-n-T] 


c^It] mo{t) 


d-t rrrj- 


phil-j^-te 


U mo7]d\ 


Eut ar- 


ra-che 


la Terre 


aux a- 


bim-es 


de I'onde, 


^3ta- 


ra-she 


la Tir 


oz a- 


bim-d^ 


d^ Vo7]d\ 


Eut as- 


sis le 


So-leil 


sur le 


tron-e 


des Airs, 


^3t as- 


i h 


So-U 


sur h 


trdn'(Q) 


des Er, 


Et sur 


le vide 


im-mense 


eut con- 


quis I'u- 


ni-vers, 


E sur 


h bhid 


im-rr7]S 


d- 007]- 


ci Vu- 


ni-bher. 


Tu bril- 


lais de 


ses feux ; 


rin-sen- 


si-ble 


ma-ti~ere 


Tu hril- 


Je da^ 


se phi ; 


Vdri-Sfrri- 


si-bl 


mdt-jer 


En re- 


9e-vant 


la vie 


a sen- 


tila 


lu-mi-ere, 


J271 r'- 


Sd'-bhrfrj 


la bhi 


a sn-n- 


tila 


1 lum-jer. 


Et, comme 


un voil- 


e pur 


du Ci-el 


res-plen- 


dis-sant, 


JS, com 


9-7] bJivtril" 


(b.) pur 


du Sjel 


res-pln-T]- 


dis-nrt]. 


Tuje- 


tas la 


clar-te 


sur ce 


mon-de 


nais-sant. 


Tu zh{^)- 


tala 


cldr-te 


sur Sd^ 


mdn-d{9^) 


nes-frtj. 


Trop long- 


temps re- 


te-nu 


dans les 


gouf-fres 


fu-nebres, 


Tro lorj- 


^.r'^ r'- 


td'-nu 


d^T^ le 


guph-r^ 


phii-nebrh, 


J'ai, de 


mes pas 


er-rants, 


par-cou- 


ru leurs 


te-nebres ; 


Zh'e, d^ 


me pdz 


er-ari, 


par-cu- 


ru llr 


te-nebrh ; 


Grace aux 


Mus-es, 


du Ci-el 


des-cen- 


du sans 

1 


ef-froi, 


Grds 


Muz-(b^), 


dii Sjel 


des-frr]- 


1 dii Sfrnz 


eph-rva. 


J'ai plon- 


ge dans 


I'a-bime 


et re- 


mon-te 


vers toi : 


Zh'e ploTj- 


zhe dn-T] 


Vd-Um 


e r'- 


mon-te 


bher tVfr : 


Je vi-ens 


re-voir 


le Ci-el, 


re-voir 


ce monde 


heu-reux. 


Zhd' bhi^dr] 


r^-bhvfr 


h Sjel, 


r'-bUva 


59- morid 


l-rl. 


Bril-lant 


de tes 


ra-yons, 


e-chauf- 


fede 


tes feux ; 


Bril-jfTT) 


d^ te 


re-J07j, 


e-slioph- 


edB, 


te pill ; 


Je sens 


de-ja 


ta flamme, 


a-li- 


ment de 


la vie ; 


S/ia- Sfrt] 


de-zhd 


ta phldm, 


d-li- 


mnrr] dd- 


la bhi ; 


Mais, he- 


las ! a 


mes yeux 


talu- 


mi-ere est 


ra-vie. 


Me^, Ae- 


las! d 


mes jl 


ta lum- 


jer e 


rd-bhi. 



FRENCH ORTHOGRAPHY AND ORTHOEPY. 



89 



En vain 


leur globe 


e-teint. 


et rou- 


lant dans 


la nuit. 


J2ri bhdtj 


llr glob 


e-tdri, 


e ru- 


Inrr] drrr] 


la nvi, 


Cherche aux^ vout-es 


des Cieux 


la clar- 


te qui 


me fuit; 


Shersh o 


b1iut-{3.) 


de Sjl 


la clar- 


te ci 


ms^ phvi ; 


Tu ne 


vi-slt- 


es plus 


ma de- 


bil-e 


pru-nelle. 


Tic ne 


bhi-zit- 


(^) pfu 


rna de- 


bil-{.) 


pru-neV. 




% 


* 


% ^ 


f 


* 




% 


* 


* 4 


^ 


* 


Les ans, 


les mois, 


les jours, 


par un- 


e sag- 


e loi, 


Lez ffrj, 


le mvrr, 


le zhur, 


par lin- 


{3-) sazh- 


(5-) Ivnr, 


Tout re- 


vi-ent, mais 


le jour 


ne re- 


vi-ent pas 


pour moi : 


Tur'- 


bhi^aT], me 


h zhur 


7Z3. r'- 


bhi^ari pa 


pour moi : 


Mes yeux 


cherch-ent 


en yain 


les fleurs 


fraicli-es 


e-closes. 


Mezjl 


shersh- (d^)t 


fTTi bhdrj 


Ze pAZ^r 


phresh-(3^)z 


e-cloz, 


Mes prin- 


temps sont 


sans grace. 


et mes 


e-tes 


sans roses. 


Me prdrj- 


t/rrj S07^ 


5^7j grds, 


e mez 


e-te 


5^;; rdz. 


J'ai per- 


dii des 


ru-is-seaux 


le cris- 


tal ar- 


gen-tin, 


Zh'e per- 


du de 


rvis-o 


h cris- 


te/ ar- 


zhfTTj-tdr], 


La pour- 


pre du 


cou-ehant. 


les ra- 


yons du 


ma- tin, 


La pur- 


prh du 


cu-shrri], 


le ri- 


joT] du 


md-tdr], 


Etles 


jeux des 


trou-peaux, 


et ce 


no-ble 


vi-sage 


Ele 


1 zhl de 


tru-poz^ 


e 55- 


no-blh 


bhi-zazh 


Ou le 


Dieu qui 


fit I'homme 


, a gra- 


ve son 


i-mage. 


'Uh 


Djl ci 


phi Vom, 


ft ^ra- 


bhe son 


i-mazh. 


J'ai gar- 


de ses 


mal-heurs, 


et per- 


du ses 


plai-sirs. 


Zh'e gar- 


de se 


mdl-s-z, 


e per- 


du se 


pie-sir. 


Ou sont 


les doux 


ta-bleaux 


si chers 


a mes 


loi-sirs ? 


'Vsori 


le du 


td'blo 


5z sherz, 


a me 


Ivn-zir ? 


Ri-en, 


de cet- 


te scene. 


en beau- 


tes si 


fe-conde, 


Ui^ar^, 


era- set- 


(9^) sen, 


^j; Z»o- 


te si 


phe- cor^d. 


Ne se 


peint dans 


ces yeux 


ou se 


peign-ait 


le monde 


2V^5^ 


pari ^^^V 


sesjlz 


u ss- 


pen-je 

M 


U mond. 



90 



FRENCH ORTHOGRAPHY AND ORTHOEPY. 



Vain-(e)- 

Pour moi 
Ptir mvo- 

Ma vue, 
Ma bhu, 

Des ob- 
Des ob- 

Tout est 
Tute 

Et pour 

E pur 

A-dieu ! 
A-djl! 

Les tre- 
Le tre- 

La nuit 
La nvi[t) 

E'-clair- 

E'-cUr- 

E'-pur- 
E'-pur- 

Mets tes 
Mete 

Et fais 
E phe 

Des ob- 

Diz 6b- 



ment se 
mnrr] .s> 

dans I'u- 
dncT] Vu- 

a la 
a la 

jets ef- 
zhez eph- 

vag-ue, 
blidg-{d'), 

moi le 
mvfT h 

des arts 
dez a 

sors du 
zor du 

en-glou- 

frri-glu- 

e ma 

(a-) ma 

e tout 
(5-) ^z^jf 

feux dans 
phl^ dnrr] 

queje 

c^ zh^ 

jets que 

zhe c^ 



co-lore 
co-lor 

ni-vers 
ni-bhers 

clar-te 
clar-te 

fa-ces 
d-se 

con-fus, 
coTj-phu, 

grand livre 
ffrfTi] libhr 

bril-lants, 
bril-jfrr] 

sa-voir, 
sa'bhvfTi 

tit tout. 
ti tu, 

rai-son 

rd-zoT] 

en moi, 

fTT] mvrr, 

mon coeur, 
moi^ clr, 

de-voile, 
de-bhvn-il, 

ja-mais 

zha-me 



et le 



il n'est 
il rCi 

re-fu- 
r'-pliu- 

ne re- 

cou-vert 
cu-bher 

est fer- 
e phir- 

la pompe 
la pomp 

les fruits 
le plirvi 

Eh bi-en ! 
E bf7a7] ! 

au de~ 
de- 

par ta 
par ta 

mets des 

me dez 

en mes 
n-ri me 

n'ont vus 
n^OK^ bhu 



fru-it et 
\frvi e 

qu'un-e 

I c'un-(^) 

sant le 

I Znrr] Is- 

coit plus 

I SVnr plu 

d'un voile 
I c?V?; bhvfril 

me pour 

I me pur 

en-clian- 

I nrrj-shfTT]'- 

. de la 
ds- la 

fil-le 
phil-j{^) 

faut de 
pho ds- 

ce-les- 
se-les- 

yeux dans 
JS' dnrr] 

vers so- 
bher so- 
les yeux 
lezjl 



la fleur ; 
la phJlr ; 

cou-leur. 
cu-ll-r. 

pas-sage, 
pds-azh, 

I'i-mage : 
Vi~mazh : 

e-pais, 
e-pe, 

ja-mais. 
zha-me. 

te-resse, 
te-reSi 

sa-gesse ; 

sd'zhes ; 

des Ci-eux, 

de Sja-, 

mes yeux ; 

mezjl ; 

te flamme; 
^(a-) phldm ; 

mon ame; 
mon dm ; 

len-nels, 
len-el, 

mor-tels. 
mn-r-teh 



91 



RE-MARQUE-^R'-MARC. 



L'in-vo-ca-ti-on a la lu-mi-ere est jus-te-ment ce-le-bre : elle est 
U dTi'bho'cd-si-ori a la lu-mi-er e zhus-f-mrrt] se-U-hrh : el et 

e-crite d'une ma-ni-ere ad-mi-ra-ble : ri-ma-gi-na-ti-on de Mil-ton 
e-crif d'un^ md-ni-ir dd-mi-ra-blh : Vi-md-zhi-nd-si-ot] d^ Mil-ton 

y a de-plo-ye toute sa mag-ni-fi-cenee ; mais ce qui en fait le prin- 
i a de-plo'je tuf sa mdn-ji-phi-so-7]S ; me sa- ci rrr] phe U prdr]- 

ci-pal in-te-ret, ce sont les plaintes tou-cliantes qu'il fait de sa ce-ci-te; 
si-pal drj-te-re, ss- sot] le pldnf tu-sha-rint^ c'il phe da- sa se~si-fe ; 

il ex-prime ses re-grets de la ma-ni-ere la plus at-ten-dris-sante. Le 
il ecs-priwb se r'-gre da- la md-ni-ir la pluz d-tavf-dri-sarf . Xa- 

rap-port mal-lieur-eux que la tra-dtie-teur a i-ci a-vec son au-teur, a 
rd-pnrr mdl-lr-l €&- Is- tra-dlcc-tlr a i-si dhh-ec son o-tlr, a 

peut-etre a-jou-te au plai-sir et a la fa-ci-Ii-te a-vec les-quels il a 
pl^t-etr a-zhu-te o ple-zir e a la plia~si-li-te dbh-ec le-celz il a 

trans-por-te ce mor-ceau d'une Langue a I'au-tre. 
trrr7]Z'por-te ss- mor-so d'un! Ln-qg a Votrk. 



M 2 



92 

ENGLISH 

Orthography and Orthoepy, 



The Prayer of our Lord. 
Dhi Prer n-bh au-9- Lad, 



zzOur Fa-ther which art in Hea-ven — 
Au-5- Pha-dhs^ vhitsh at in Hebh-n — 

I. Hal-low-ed be Thy Name. 

Hd-lo-ed hi Dhai Nem. 

II. Thy king-dom come. 
Dhai cirj-dom elm. 

III. Thy will be done on earth, as it is in hea-ven. 
Dhm vil hi din o-n ^Bth, dz it iz in hebh-n. 

IV. Give us this day our dai-ly bread : 
Gibh Is dhis de oai-q- de-li bred : 

V. And for-give us our tres-pas-ses, as we for-give them that tres- 
And phrr-yibh Is om-s- tres-pds-ez, dz vi phn-gibh dhem dhdt tres- 

pass a-gainst us. 
J) as a-genst Is. 

VI. And lead us not in-to temp-ta-ti-on, but de-li-ver us from 
And lid Is no-t in-tu tem-ti-sN-on, bit di-libh-s-r Is phrn-m 

e-vil. 

i-bhn. 

ziFor Thine is the king-dom, and the pow-er, and the glo-ry, for 
Phtr DhcHn iz dhi cirj-dom, and dhi pdH-s-r, and dhi gln-ri, phtrr 

ev-er and ev-er. A-men. 
ebh-5-r and ebh-d-r. ^E-men. 



93 

FRENCH 

Orthography and Orthoepy. 



L'O-rai-son Do~mi-ni-cale. 
U 0-re-zo7] Do- m i-ni-cdl. 



zzNo-tre Pere qui es aux cieux — 
No-trh Per ci ez o sjl — 

- I. Ton nom soit sanc-ti-fi-e. 
Torj not] svfr S(r7]-tiph-je. 

II. Ton regne vi-enne. 
Tot] r^nj bhjen. 

III. Ta vo-lon-te soit faite en la terre comme au ci-el. 
Ta hh6-ld7]~te sva phet o-t] la ter com o sjel. 

IV. Donne-nous au-jour-d'hui no-tre pain quo-ti-di-en. 
D6n'[^)-miz o-zhur-dvhi no-trh par] co-tid-jdr]. 

V. Par-donne-nous nos of-fenses, comme nous par-donn-ons a ceux 
Pdr-d6n~{d')-nu noz o-phrrrjs, com nu pdr-d6n-07]Z a si 

qui nous ont of-fens-es. 
ci nuz OTjt 6-phrr7]-se. 

VI. Ne nous in-duis pas en ten-ta-ti-on, mais de-li-vre nous du 
Nd- nuz dn-dvi pdz ari to-7]-tds~J07], me de-libh-rh nil du 

mal. 
mdl. 

rrCar c'est a toi qu' ap-par-ti-ennent, le regne, et la puis-sance, et 
Car s'et d tvn- c' d-pdr-ti-en, 1^ renj^ e la pvi-sn-r^s, e 

la gloire. aux si-ecles des si-ecles. A-men. 
la ylvfrr, o sjec-lh de sjec-lhz. ^ A-men. 



94 
ALLITERATIVE CURIOSITY. 



" A certain French gentleman, praising the happiness of his native 
language, which had words that implied a likeness to the thing signi- 
fied, at the same time finding fault with the English tongue, as not 
being able to do the like, he proposed the following verses to Dr. 
Wallis : 

" Quand un cordier, cordant, veut corder sa corde, 
Pour sa corde corder, trois cordons il accorde ; 
Mais, si un des cordons de la corde descorde, 
Le cordon descordant fait descorder la corde. 

" Which Dr. Wallis thus rendered into English verse, making use of 
the pure English word twist (contrary to the expectation of the French 
gentleman) instead of the French word cord : 

" When a twiner a twisting, will twist him a tv^ist, 
For the twining of his twist he three twines doth intwist ; 
But if one of the twines of the twist do untwist. 
The twine, that untwisteth, untwisteth the twist. 

" Afterwards, the doctor added four lines more : 

" Untwirling the twine that untwisteth between. 
He twirls with his twister the two in a twine ; 
Then, twice having twisted the twines of the twine, 
He twitcheth the twines he had twisted in twain. 

" Afterwards he added four lines more : 

" The twain, that, in twisting before in the twine. 
As twins were intwisted, he now doth untwine, 
'Twixt the twain intertwisting a twine more between. 
He, twirling his twister, makes a twist of the twine." 



The foregoing is copied from " An Essay towards a practical English Grammar, &c. by 
James Greenwood, Sur-Master of St. Paul's School. London : Printed for Arthur Bettesworth, 
at the Red-Lvon in Pater-Noster Row. 1729." 



END OF THE PHONARTHIIA ANGI.ICA-GALLICA. 



PHONARTHRA-HEBRAICA. 



A 

NEW AND SIMPLE 

GUIDE TO HEBREW READING & PRONUNCIATION, 

COMPRISING AND COMPARING 

BOTH THE SYSTEMS WHICH DIVIDE THE STUDENTS 

OF THE 

SACRED LANGUAGE. 



Jesus said, — " It is easier for heaven and earth to pass, than one tittle of the Law to 
fail." Luke xvi. 17- 

Jesus said, — " Till heaven and earth pass, one jot, or one tittle shall in no wise pass 
from the Law, till all he fulfilled." Matt. v. 18. 

Jesus said, — " Heaven and earth shall pass away, but my words shall not pass away." 
Matt. xxiv. 35 ; Mark xiii. 31 ; Luke xxi. 33. 



INTRODUCTION. 



There are two ways of reading Hebrew: namely — I. The method 
which is usually practised in languages, the letters of the alphabet 
being naturally divided into the well-known classification of votvels and 
consonants. II. An artificial method, invented for the purpose of per- 
petuating a knowledge of the true pronunciation of the language when 
it was (about to) become disused ; and wherein all the letters of the 
alphabet are considered as either consonants, or quiescent letters, the 
vowel sounds being represented more accurately by certain arbitrary 
points or marks placed about the alphabetic characters. The former of 
these systems is, of course, the simpler of two, the more ancient, and 
the more quickly learned : the latter may be preferred, or may be 
dispensed with entirely, but should be learned together with the former 
subordinately, as a useful help, but not as an infallible guide ; the exact 
power even of the voioel points themselves being sometimes doubtful. 

There are also two kinds of Hebrew character, or letters, namely, I. 
The Samaritan, or more ancient Hebrew, to which the punctual theory 
is not known, nor applied ; and, II. The Chaldee character, which is 
the more modern : similarly, as in English, there is the German text, 
otherwise called the Old English, and the Black Letter ; and, there is 
the Latin (Roman and Italic), which is that in common modern use. 

N. B. Hebrew is read from right to left, and not from left to right as 
in English. 



INDEX OF CONTENTS. 



PAGE 

I. Introduction < 97 

II. The Hebrew Alphabets, &c 99 

III. The Hebrew Names of Numbers 102 

IV. The Vowel Points 304 

V. The Names of the Hebrew Letters pronounced 107 

VI. Pronunciation of the word " Jehovah/' &c 109 

VII. The Names of the Writers of the Hebrew Scriptures, &c 111 

VIII. The 1 1 7th Psalm translated and pronounced 113 

IX. The Exordium of the last Song of Moses, Deut. xxxii 114 

X. The Prayer of our Lord 117 



99 



THE HEBREW ALPHABETS. 



Numeral 


Samaritan 


Phonarthron 


Chaldee 


Numeral 


Order. 


Character. 


Power. 


Character. 


Value. 


1 


N- 


^ or J2 


N 


I 


2 


S 


B or ^/i 


n 


II 


3 


1 


G or Gh 


:i 


III 


4 


^ 


D or Z)/i 


"T 


IV 


5 


^ 


J^ . e 


n 


V 


6 


X 


U or V 


1 


VI 


7 


^ 


Zh . zh 


2 ^ 


VII 


8 


-^ 


H . A 


1 n 


VIII 


9 


^ 


r . t 


^ 12 


IX 


10 


/rr 


I or J 


,s ^ 


X 


11 


iJ 


Cli . ch 


T • 3 


XX 


12 


Z 


L . Z 


^ 


XXX 


13 


!iJ 


ilf . m 


D . D 


XL 


14 


:i 


N . 7Z 


1 • ^ 


L 


15 


^ 


S '.s 


D 


LX 


16 


V 


c0 or c3/i 


r 


LXX 


17 


^ 


P or PA 


n • 9 


LXXX 


18 


•m 


^ 2; . 2 


T • i^ 


XC 


19 


V 


C . c 


P 


C 


20 


^ 


R . r 


n 


CC 


21 


vu 


aS/i . sh 


t:^ 


CCC 


22 


A 


Th . ^A 


n 


CD 



NOTES. 



I. In the Masoretic, or punctual system, the letters K and n are 
quiescent, or else represent the aspirate H . h ; the letters ^ and T are 
likewise quiescent^ or represent the consonants t/.J? V . v; and the let- 
ter J7 is also sometimes quiescent, giving place to a vowel sound. 

n2 



100 



THE HEBREW ALPHABETS. 



II. The following letters are sometimes elongated : thus- 




III. The sign " ^pD . Macaph, joins words together like the English 
hyphen (-) ; and the sign : pv^D . Siluc, ends a sense like the English 
period, or full stop (.) . 

IV. The Hebrew letters are properly classed according to the 
organs of speech : thus — 



' 8 




n 


D 


P^ ^^ 


:^ 


•> 


n 


H 


Palatals 




10 


^ 


V 


r 


:^ 


"n ^SDj'~~^"T^ 


^:)^ 


~^^^ 


"1 Linguals 


4 




^3 


^2 


T> "* 


Labials 




U 


1 



but improperly according to usual practice : thus — 

I^nnK — Gutturals 
i- : - 

py2 — Palatals 

•^5??"!! — Linguals 

i^nii^DT — Dentals 

^D^H — Labials 



V. Hebrew words are composed of letters which are distinguished 
by the names of Radicals and Serviles : the former intimate the radical 
or general sense of a word, and the latter the adjunct or qualifying 
sense. The radical and servile letters exactly divide the Alphabet : 
thus — 



j ^ 


. V 


:i 


D 


. b 


D 


1 


. 1 


rr 


. n . 


j^ 


Serviles 


-} 


p 


i: 


H) 


V 


D 


ro 


. n 


r 


-7 • 


J 


Radicals 



THE HEBREW ALPHABETS. 101 

The servile letters are easily remembered, as composing the three 
names : — 



:b2'^ r^tl^ ]r\'\^ } — { Aithan, Mose5, and - Caleb. 



A root, or word of general sense alone, usually consists of three 
letters, making two syllables; but there are exceptions, some roots 
being defective, and some redundant in a letter. 

N. B. The servile letters are sometimes radicals, but the radicals are 
never serviles. 

VI. In order to read and accent Hebrew without the vowel- 
points, — 

(1) . Pronounce every consonant-letter separately, and every vowel- 
letter distinctly. 

(•2) . Where no vowel-letter divides the two consonants, one must be 
supposed, as e or &■ ; this supposition is noted in the orthoepic examples 
hereafter given, by the apostrophal comma (') being placed between 
consonants. 

(3) . In general, accent the second letter, or first syllable of the 
root. It is not, indeed, necessary to make any strong accentuation ; on 
the contrary, rather not, but so that every syllable and letter may be 
equally pronounced, and so that the radical letters may be distinguished. 
Experience will give tact and facility in the practice of these rules. 



102 



THE HEBREW NAMES OF NUMBERS. 



CD 
> 



c» S S 



O 






<0 









O S 

£ .^ 

o a> 

^ S 



■f - 

o s 






O --3 
^ O 












.5 

H 



o 






is <D 



bJD 



« 5i 



Oh 



O _5 









o ^ 
:i: CD 

3 nr 

























1 — 




—7-* 




^_ 






t-^ 


_^ 






i 3 £ 




c 


-^ 


■4^ 








-^ 


^ 


!-; 






o 

o 
72 


.j^ 


3 


[^^ 


.3 


> 

a; 
02 




-<-> 
g 


r^ 


1 o 


r 


?J 


?i 


r 


n 


f=i 


f5 


•^ 


q 


^ 


3 




j-i 


1 


I! 


JJ 
P 


^ 


n 


Pi 






1 ^ 






















i "^ 


r 


?^ 


f) 


r 


c 


fi 


?3 


?) 


C 


^ 


.s 


% 


i~\ 


j-\ 


t\ 


jj 


f^ 


n 


P 




^ 


a 


E 


c; 




I 




q 


fe 


S 


c; 


'I 


Figures 


_^ 


(M 


CO 


^ 


LO 


o 


i>. 


00 


Oi 


o 




% 


n 


*-5 


r 


n 


<— 


#— 


n 


a 




Letters 


■r- 



-s . 




















.2 1^ 




O 


2^ 


3 
O 


> 


>< 


> 




a; 




'^ 


■— ( 


H 


i:^ 


fa 


^ 


X 


W ^ 


Uh 



% ^ ^ % 



^ ^ <:; ^ 
n j3 ^ g 
t>, ^ x:^ r 





^ 


^ & 


% 


t: 


^ 


^5 


fi 


q 


j^ 




T c 


c; -c 


r 


1) 


*^ 


n 


p 




5^ 


s 


<1 


&g 


n 

& 




'' 


t 


e 


^ 


t 
























.S 




























^ ^ 


% 


c 


j:^ 


fi 


fi 


q 


^ 




S 




q -C 


r 


n 


^ 


n 


r\ 


t^ 


::J 




o 




q 


g 




q 


^ 


5 


^ 


fc 




1^ 





















-O 

s 

3 



c3 



rr; 


G 




0; 


CL, 


> 
0) 


O 


rr 


»-• 




CU 


a> 


§- 


T* 




^ 


t-i 


n 


i^ 


::=\ 


o 


n 



-o ' 



1 



a 

3 



a 

G 
C3 









a; 



H q 

^ r 



THE HEBREW NAMES OF NUMBERS. 



103 



T . 



11 

12 
13 
14 
15 
16 
17 
18 
19 



nnw 



Feminine 



Masculin*: 






''r\p^^orinH 


Eleven 


D^ji^ , or ^;)^ 


Twelve 


T ; 


Thirteen 


nya-ix 


Fourteen 




Fifteen 


T • 


Sixteen 




Seventeen 


n±iU} 


Eighteen 


nv'^D 


Nineteen 







Common . Feminine 


Masculine 


ND . 


21 




Q'^I'W"? 


^ -n™ 


n™ 


One and twenty 


ID . 


22 




1 ' : ■•■ : 


Q^-?!}'^ 


^]^P 


Two and twenty 


:b . 


33 




D'^ti^b't^"^ 


T 


X ; 


Three and thirty 


ID . 


44 


1- T :- : 


r^^Nt 


nya-ix 


Four and forty 


n:) . 


55 






•• X 


rwon 

X • -; 


Five and fifty 


ID . 


66 




1 • • : 


t^^ 




Six and sixty 


rr . 


77 




^iy?Pi 


yni£^ • 


n^nti^ 


Seven and sevent 


ns) . 


88 




1 • : 


ny?D^ • 


X : 


Eight and eighty 


Dii . 


99 




r : • : 


^^^ • 


nvpr^ 


Nine and ninety 


P 


. 100 


constr, r)i^t2 . abs 


oi. ^^^Q 
1 ■•■ ** 


A hundred 


1 


. 200 


D'^JIJ^D . for 


•i - T : 


[Two] hundreds 


t:^ 


. 300 


1 " 


t:)^!^ 


Three hundred 


Ji 


. 4 


too 


1 •• 


j;2nN 


Four hundred 



^bij^ . A thousand . Q''§i'^? • [Two] thousands 

nam or Nini , ):ii , ni^:ir\ or ni:ai . Ten thousand 

|TT : I • I • |T : • I • 

^!?^^ JliKD W . Six hundred thousand 



1 ito is used instead of n% because the latter denotes the Sacred Name, which might thus 
be used irreverently. See page 109. 



104 



THE NAMES OF THE POINTS. 



THE VOWEL POINTS, 



TOGETHER WITH THEIR CORRESPONDING PHONARTHRIC POWERS. 



__ •• — • 

• • • • • • 

• • • • 

T ••• t: 



a 


e 


a 




(') 


r 

9- 


nr 


u 


f 

nr 



The Names of the Points — their Meanings and Pronunciations^ icith the 
Points and without the Points. 



Names pointed. 


Fig. 


Meaning. 


Power. 


Names unpointed. 


nn9 . Pathah 
1- - 

yCi'\) . Cn-mez 


T 


The Opener 

The Peculiar 

The Contractor 


d 

9^ 

\ 

n 


bi:iD . S'gul 
y^p . Cm'z 


n^: . Zer^ 
...... 

K^^ . Sh'vn- 

yap . Cibuz 


•• 


The Enforcer 

The Void 

The Compresser 


e 

(') 

u 


nui . z\i 

"^W . Sh'va 

ynp , Cb'z 


I-- 


Hn-teph 


T : 


Short 

or 

"Caught" 

or 

Acute 


^Pathah 

S^gol 

Cn-mez 


a 

9- 

nr 


nns) ■ 
yDp 


' IFfp 



=:A11 these signs are placed underneath the letters. 
zzThe sign or point i^W . SNvn (:), intimates merely the absence of a 
vowel, and is, therefore, as nearly as possible expressed by the apostro- 
phal comma ('), as used in English to denote the absence or elision of 
a vowel sound. At the same time, however, it usually supposes so 



THE NAMES OF THE POINTS. 105 

much of indistinct vowel sound as may suffice to detach (if need be) any 
two consonants which are in juxta-position. 

zzThe uses of a single point, or dot, are as follow : — 

1. A point, or dot, placed underneath any letter is 

I pnrr . HiHc I . | The Trembler | i | pHH . HWic I 

2. A point, or dot, placed over above any letter is 

I Ub^n . Hohm I . I The Robust | o I D^IH . HuUm 

If placed over above to the right, it is pronounced before the letter ; if 
placed over above to the left, it is pronounced after the letter : it must 
not, however, be confounded with the arbitrary point placed over ti^, 
to render it either S, or Sh ; thus, in the punctual system, ^ = *S, and 
^ 1= Sh. Circumstances, indeed, will always indicate what is signified 
by this point; which, in the case of ti^, may, at first, appear versatile 
and obscure : thus — 

\if =r S, and So 

^ — Sh, and Osh 

■^ = Sho, and 05 

3. A point, or dot, placed inside the letter "), is called 

I p'^W . Shurec I ?) I The Sibilant I ii | pIVX^ . Shur'c 1 

thus reconverting the consonant 1 . V, into a vowel. This, however, 
must not be confounded with another power which it has of strengthen- 
ing, accenting, or confirming the consonant 1 . F, as well as every other 
consonant letter, except V and H. When the single point or dot 
performs this office, it is called Dagesh ; and when it is placed 
inside the vowel-letter rT . E, which is then sounded H . ZjT, it is called 
Mapic. 

Note. — There are also many other points, or punctual signs, called 

o 



106 THE NAMES OF THE POINTS. 

accents, which have various offices ascribed to them ; but the precise 
use and meanings of them all are not known. The foregoing are the 
uoi^eZ-points, a knowledge of which is sufficient for our present purpose, 
and, it is presumed, not too complicate, or difficult, to deter the 
beginner from proceeding further by-and-by. 



107 



THE NAMES OF THE HEBREW LETTERS, 

WITH THE POINTS AND WITHOUT THE POINTS. 



_ ^)^.Jlhph 


c)^^^ . AVph 




^^ 


1 


SV2. . Beth 

1 •• 


jT'n . 5zYA 




n 


2 


biy^ . Gimel 
1 " * 


'PD^:) . Gim'l 




:i 


8 




rhi . nvth 




"r 


4 


KH . He 


KH . Ea 




n 


5 




y). Vu 




1 


6 


]X' ^hain 


rr . Zhin 




T 


7 


irn . Heth 


JTTr . Hith 




n 


8 


JT'rO . Teth 


J-|"'tO . TzY/i 




ro 


9 


IV . Jod 


nv . Jud 




> 


10 


51? . Chaph 


C]J . C/i>A 


1 


. ^ 


20 


V|T 


"ID^ . Z'w'^ 




^ 


30 


DD . Mem 
1" 


DD . M'm 


D 


. D 


40 


l-IJl . Nnn 


\^1 . Nun 


] 


:: 


50 


"^9^ • Sfrrrid-c 


IDD . S'm'ch 




D 


60 


VV . c3am 


VV . ^3m 




p 


70 


1" 


K9. Pa 


n 


• S3 


80 


1 "T 


ni5 . %'6fi 


r 


:i 


90 


Slip . C6»Jt?A 


tip . Cw/?/i 




P 


100 


ti^n . Resh 
1" 


t:^n . Risk 




n 


200 


];?? . Shin 


]'^^ . Shin 




t:^ 


300 


IT 


Ml . Thu 




Ji 


400 


^ The sign [i], consis 


ing of a perpendicular 


1- 


500 


stroke below a letter, is ca 


lied 3nci Ms-th^g, i. e. a 


D 


600 


Aii!, &r26?/e, or rei?«. Its use 


J is to mark the accented 


] 


700 


syllable, and it causes a {■: 


i. e. ['] Sh'va, otherwise 


^ ■ 


800 


mute, to be pronounced [3. 


]• 


r 


900 



o 2 



108 



The following Verse 8, Chapter 3, from the Prophecy of Zephaniah, 
contains in it all the letters of the Alphabet : 

' V IT T T 



109 



PRONUNCIATION OF THE NAME "JEHOVAH," &c. 



zrThe four letters mjl'' of the Hebrew alphabet correspond with the 
four letters EUEI of the Roman alphabet, that is, in the Roman order 
of reading lEUE, or JEUE. 

zzNow lEUE or JE-U-E, as first pronounced and written by one 
generation, coming (by a change of euphony incidental to all languages) 
to be pronounced JE-O-A, by a succeeding generation, these three 
syllables easily and naturally divide themselves, by aspirating before 
the middle one (O), and parting it from the last by the cognate and 
corresponding consonant of U, which is V ; and, the original and pro- 
per sound of V being that of English W, and J the sound of English 
Y, the present and true pronunciation of the word is attained, namely, 
JE-hOv-A, that is, Je-ho-va, or Ye-ho-wa. 

iz Again: lEUE, or JEVE, being by the Masoretic, or punctual 
system, JHVH (that is, four consonant letters instead of four vowels), 
requires the insertion of certain vowel-signs in order to be pronounced ; 
which is, therefore, done, by inserting those of the natural pronunciation 
above shown : thus — JeHoVaH . that is, Je-ho-vah (or Ye-ho-wah), 
according to established oj-thography ; but, according to the real 
orthoepy^ Ja-HoV^H. 

z=In like manner may be explained all the examples following: as 
thus — 



'^'^^^. 


D^•^'?^^ 


rvsrx' 


nin> 


L'H'M 


ALE-IM 


J'H'V'H 


JEUE 


eLoHiM 


ELOhlM 


JeHoVaH 


JEhOvA 


that is 


■ Gods. 


that is 


• The Eternal 



110 



PRONUNCIATION OF THE NAME " JEHOVAH," &C. 



D'^^P 


n^t^D 


yp^ri) 


ri:;in^ 


M'Sh'J'H 


M'ShlH 


J'H'Sh'J3 


JE-USh'J3 


M^ShiJaH 


M^ShlaH 


JeHoShuac:3 


JEh-OShua^ 


.hat is, Christ, or Anointed. 


that is, Jesus, or "Jehovah the 






Savi 


our." 


nnbbn 

T : - 


n"'-i'?'7n 


H'L'L'-J'H 


EL'LU-JE 




HaLeLuJaH 


ALeLU-JA 





that is, " Praise - Ye The - Lord !' 



Ill 



THE NAMES, OR WRITERS' NAMES OF THE HEBREW 

SCRIPTURES, 

PRONOUNCED WITH THE POINTS AND WITHOUT THE POINTS. 



1 . Moses 

2 . Joshua 
Judges 
Ruth 
Samuel 
Kings 

Chronicles 



8 . Ezra 

9 . Esther 

10 . Nehemiah 

11 . Job 

12 . David 

13 . Psalms 

14 . Solomon 

15 . Proverbs 

16 . Ecclesiastes 

17 . Song of Songs 

18 . Amos 
19^ Hosea 

20 . Micah 

21 . Isaiah 

22 . Joel 

23 . Nahum 

24 . Habakkuk 



nti^D . Moshd. 
Vt)n\ . J'hoshuai^ 
Wmy^ . Shophtim 

im . Ruth 
b^'^r^^ . Sh'muel 
n^^bD . Malchim 

NITi; . :^9^zhrfr 
")r)pi<J . ^s-ther 

n^i^K , ijoh 

uhr}n . TKUiim 
r\rb^ . smomo 

'h^^ . Mishle 

r\br\i;) . Coh^-Uth 

' L Hashirim 

T 

V^^r^ . Hosheai^ 
HD^^D , Mien- 

T 

^^VV\ ' J'shatj-jrr 
bijfV . Joel 
D^TO . Nahum 

p^pDH . Habacuc 



r^)Dr:i . M'she 

VU)^7^^ . JeusNy] 
W^^W . Shuphtim 

lyn . Ruth 

b^yO'^ . Sh'mual 

DO/D . M'Vchim 

(Ubri- 
l_ Eimim 

i^l]); . 3'zhra 

IDDi^ . Asthr 

n^Dm . N'h'm-je 

nv^^ . Jjub 

I'M . Duid 

D'bnn . Thelim 

nob^ . ShTme 

""b^D . M'shli 

Pibnp . Certh 

fShir- 
L Eshirim 

D^UV . cZ'mus 
W)n . Eush'^ 
r\yt2 . Miche 
n'V^'^ . Ish'tj-je 
bi^V . Jual 
Dim . N'hum 

P^pnn . H'Ucuc 



112 



THE WRITERS NAMES OF THE HEBREW SCRIPTURES. 



25 


. Obadiah 


nnn*iy 


3obad-j(r 


nnmp 


. :^ub'd-je 


26 


Zepbaniah 




Z'phan-jn- 


n^js^i 


Z'ph'n-je 


27 


Jeremiah 




. Ir'm-jo- 


n-'D"!^ 


Ir'm'je 


28 


Lamentations 


T •• 


Echo- 


nyi^. 


Aiche 


29 


Ezekiel 


bi^p]ji\ . 


JTh^zh'c-el 


bi^p\n^ . 


J'NzNc-al 


30 


Daniel 


... T 


Dn-ni-jel 


bik'2i 


Uni-al 


31 


Haggai 


'^n. 


Hagnj 


^:in. 


H'gi 


32. 


Zechariah 




Zh'char-jrr 


nnor . 


ZKchW-je 


33 


Jona 


X 


Joiirr 


mv. 


June 


34. 


Malachi 


''Di^'^D . 


Malrrchi 


o^<^Q . 


Mlachi 





113 








PSALM 117. 






TRANSLATED AND PRONOUNCED WITH THE POINTS I 


^ND WITHOUT 


THE POINTS. 




Verse I. 




Sin^-ye [Praises] 


^bbr\ . HaVlu 


•hbr^ 


. Eriu 


^to 


■J1^^ . 3th 


-na 


, Ath 


Jehovah, 


TViTV . J^hovfT^ 


r^T^'' 


. Jeue 


all 


"bli . Cho-l 

T 


-bD 


. Ch'l 


nations : 


D^'lil . Goim: 


D^i:) 


. Guim : 


celebrate -ye -Him, 


^UT^Ilt . Shab'hu-hu, 


imnnti; 


. Sh'Uhu-eu 


all 


-^3 . Chrrl 


'bD 


. CKl 


the -peoples. 


D''D^^^ . Hrr-umim. 
1 • ••. T 

Verse II. 


D^D^^^ 


. E-amim. 


For 


••S . Chi 


o 


. C/zz 


mighty 


-11^ . Gn-har 


12^ 


. G'bW 


over -us 


^yhy . :zn-ie-nu 


^Tby 


. cZ^H-nu 


(is) His -favor; 


i^pn . Has'd-o : 


Mon 


. ^T'sW-w .• 


and- (the) fidelity 


vv:iv 


'^ir2i^^ 


. U-am'th 


(of) Jehovah 


nyni . J'hovo- 


mn'' 


. Jeue 


(is) for - ever. 


UbS^^b . L-rioln-m. 


D^^r^ 


. L-7]uVm. 


Praise- ye 




'^bbr^ 


. E/7i^ 


Jah. 


IT 


1 


. J^. 










♦ 1 • \i T T : 









iiprr ^yhv "in^ ' 


3 






♦ T : T ; vv: 















^ nx has no corresponding word in English. The nearest meaning is " the," yet not the 
same as n " the," but intimating an objective case after it, whence it seems to partake ot 
the force of the English prepositions at or to. 



114 



EXORDIUM OF THE LAST SONG OF MOSES. 

SEE DEUTERONOMY XXXII. 





Verse I. 






Give ear, 


•'):''T^^^ . Haazhinu 


iriNH 


. Eazhinu 


O ye Heavens, 


D''Ql£;n . Hasho-maim 

• - T - 


ym^r^ 


. E-sh'mim 


and I will speak ; 


n"T21Stl. Vahadaherrr; 


ninii^i 


. U-ad'hWe; 


and hear. 


V^'^ry] . V'thishmaT] 


V^'^TTs 


. U-tNsh'm\ 


O Earth, 


yiKH . Hahrrr^z 

' V T T 


V1^^^ 


. E-ar'z 


the words 


■np^^ . ImWe 


■n^.^ 


. ArrCri 


(of) my mouth. 


^3 . Pi. 

r 

Verse H. 


''3 


.PL 


Shall drop 


^1^^_. Jar\aroph 


n^r 


. Irfr'ph 


as the rain, 


ntODS . Chanifrtrrr 

T T - 


^my2 


. CNrrCfr 


my doctrine ; 


••np^ . Liclii ; 


^n'^b 


.neu; 


shall distil 


b-]r) . Tliizhal 


b^n 


TKzm 


as the dew, 


bm . Chatal 


b:D:i 


Ch'fl 


my speech ; 


TllDi^ . ImWn-thi: 
• T : • 


^mDK 


AmYthi : 


as the small rain 


Dn;X^t?3 . Chish\irim 


Dn^rti^D 


Ch'sh'Tjirim 


upon 


"hv . :Zale 


'^bv 


^'li 


the tender herb, 


l^t/1 . Dd^shs^, 


i^^i 


Usha, 


and as the showers 


u^y^y^y . v'chir'bihwi 


y2'2iy 


U-chWbibim 


upon 


"'k • '^a^e 


'^bv. 


Sli 


the grass. 


n'W . ^es^h. 


2m . 


SsKh. 




Verse III. 




-- 


Because 


^3 . Cfii 


^D . 


Chi 


the name 


Ut . Shem 


Dt:; . 


SlCm 


(of) Jehovah 


TVSsV . J'hovfr 


^\^rv . 


Jeue 


I will publish ; 


ynj)^ .3 em-; 


^^'^pN . 


Ac'ra ; 



EXORDIUM OF THE LAST SONG OF MOSES. 



115 



ascribe - ye 


!)nn . Hn-bu 

T 


inn 


. ^5w 


greatness 


^713 . God^l 


b^^ 


G'd'l 


unto our God. 


^y^rhvh . Lelohenu. 
\" I" 

Verse IV. 


^Tr^bt^b 


L-aleinu. 


The Rock ! 


Il-ijn . Hazur 


ni^in 


E-zur 


perfect 


U^t2r\ . Thrrmim 

' T 


D"'Dn 


TKmim 


(is) His work ; 


^bv^_ . Pn-rirrlu ; 


i^rs) 


rrflu; 


for 


>3 . Chi 


o 


. Chi 


all His ways 


VD-IT'pD . Chn-l Urn-cn- 

T T : T 


10-)"T-^D 


Chn-l-Ur'c-ju 


(are) judgment : 


m^^ . MisKpn-t : 


DH)t:^D 


M'sNft : 


a God 


^K . El 


bi^ 


.Al 


of truth, 


T )v; 


nji^si^ 


. Amune 


and - no 


r^") . F' En 


r^^•) 


. U-Ain 


iniquity. 


Sv . :^(rva, , 


^^;^ 


3ul, 


just 


pn^ . Zadic 


pnij 


. Z'dic 


and - right 


Iti^'^l . V^jnrshnrr 


")i^''i 


U'IshW 


(is) He. 


VnTi . Hu. 


?^in 


. Eua. 



p *J 



116 



o 


h3 

1 


OS 


3 
O 

s 










1 








1 




< 
< 

Eh 

1^ 


<: 


c» 








^ 




^ 








1 




Pi 




>^ 






_Q 




^ 




.*J 




^ 




o 

2 

O 




s 

o 

1 

a; 


*c5 




S-i 


o 


o 

o 

s 

O 
-5 


13 
O 

o 

3 
O 

o 


o 


1 

c 
o 

1 

3 
C3 


•4^ 

'3 

3 

o 




S 


3 
Pi 

O 

Q 


P3 






O 

Si 


en 


o 


^ 

s 

o 


^co 

3 


3 




-a 


QJ 


o 


o 
2 

> 


C3 
O 

g 

< 


15 

CO 


15 
o 

QJ 


*g 

S 

CO 


o 

i 


Oh 

3 


1 


o 


CO 

13 


3 

o 

< 


§ 
1 








, ', 








Hi 




> 









o 







w 


jy- 


n 


57 


57 


Jv- 


?? 


w 


w 


71 


>. 




Pi 

<: 

Pi 

<! 

a: 

o 


r? 




57 



7i 

<n 

5? 
t> 


5? 


|y< 
Kf 


5^ 

57 

n 
t> 


57 
KT 

i 


Kf 

57 




H 


5^ 


^ 


< 






Sw 


-r? 


5< 


rl 


♦ ♦ 


Pi 


<31 


n 


^ 


e 






♦ ♦ 


^ 


♦ ♦ 


r? 


t> 

Jy- 
Kf 


:z^ 


Pi 
o 



























0^ 



117 



THE PRAYER OF OUR LORD "JESUS CHRIST.' 



= Our Father 


• X 


which (art) in Heaven. 


• T X - V 


I. Hallowed be 


^l\l) 


Thy Name. 


^19f 


n. Come 


X 


Thy kingdom. 


• ^-P^^^^ 


HI. Be 


V! 


Thy will 


l^^^^l 


as that 


it^j^i) 


in Heaven 


• X X - 


also 


1?1 


on Earth. 


■Yias. 

' V X X 


IV. Our bread 


•''j?rL^ 


brought 


^^1 


daily. 


)^r3ruv 


extend 


^D 


to us 


^2b 

X 


to day. 


'U)'^r} 


V. And forgive 


n^Di 


us 


^\b 

X 


our debts. 


•* 


as 


'^^^.^ 


we forgive 




those possessing 


'!?!;?> 


our dues. 


: wnia'in 



. J2hinu 


i:3>nj< 


j Shd^basho" 
\ rriirim, 


U'^^V2.'V 


. Icrrdesh 


^1\>^ 


. Sh'ms^chrr. 


'^i;t:m 


. Tho-ho 


Niaji 


(MaVchutha^- 
\ chnr. 


: ino'pD 


. J'hi 


M"* 


. Rzon'chfT 


i:iij"i 


. Cha-asher 


^U)^2 


. Bashfrmfrim 


u^n'^2, 


. V'chen 


P") 


. Brrfirrrg-z. 


:pNn 


. LaKmenu 


^yorh 


. Uhar 


-in-r 


, Jom-Vjomo^ 


iDrn'DV 


. Then 


]^ 


. Lnrnu 


^:h 


. Ha-jom. 


:Dvn 


. Us'lah 


rhD^ 


. Lfrnu 


i:b 


. 3th-hobothenv 


•i:^jTO")n"ni^ 


. Cha-ashd-r 


")t:;ND 


. Sn-latCnu 


ijn'^D 


. JUha7]ale 


^bV2b 


. Hobotheny, 


' )Tn')y)n 



. Sh'b^sh^mim, 

. Th^bua 

. M'Vchuth'ch. 

. Jei 

. ICzurCch 
. Ch-ashr 
. B'sKmim 
. U-c'n 

. UKrf^nu 

. i)'Z.V 

. Jum-Vjumu, 

. E-jum. 
. C7-s7'A 
. L'nu 

,Ath-hubuthinu 
. Ch-ashr 
. S'VKnu 

, Hubuthinu. 



118 



THE PRAYER OF OUR LORD " JESUS CHRIST. 



VI. And not 

lead us 

into temptation, 

but 

deliver us 

from evil. 

= For thine (is) 

the kingdom, 

and the power, 

and the glory, 

for ever and ever. 
Amen. 



X ; 

• X X : 



V'al 

Th'bienu 

Unisnrjon, 

Chi-im 

Hazilenu 

Mern-7]. 

Chi Vchrr 

HamaVchuth 

Ug'buvfr 

V'chfrhod 

Uriolfrm- 
^ol/rmim. 

J2men. 



]VD^b 

n'f2b^]rnb^vb 



. U-al 
. TJi'Manu 
. UvLsiun^ 
. Chi-am 
. EziVnu 

. Chi Vch 
. E-m'Vchuth 
. U-g'bure 
. U-ch'hud 

(_ r]uVmim, 
. AnCn, 



119 

















a> 




(» 




OJ 
























> 




3 


























•So 




> 

^3 




T3 


















2 

pi::; 




1 
















Q 










.2 




GO 

03 




3 




^ 

§. 








O 

M 

O 


#* 
H 

CO 


O 
> 

t 


a3 


1 


o 


J 

o 


1 

f 

O 


CO 

.2 


3 

5 
S 

.2 




i 
1 


Pi 

3 
;-i 


3 

2 


C5 


o 


u 


i 
1 

a; 




8 
s 

o 


§ 

•—1 




> 

•So 


I 

1 


o 

3 

t» 

3 


"5 




> 

.2 




1 


<! 

P^ 




I 


n 
^ 


:;:! 
^ 


S 


^ 


S 


J 


2 

o 


QJ 


f 




CO 


Ph 




•5 


1 




>» 

S 


> 

3 


'72 

<! 


':a 


3 
<1 


cl 


3 


'feJD 




CO 






3 

o 
II 


1— 1 




h— 1 




> 




t-H 
> 




1 

II 






PS 
M 

W 

0) 

<u 
CO 

J 


H- 1 


^^^^ 




























^ 


\A 




II 


















II 






> 


1— ( 


O 




« 


^ 


»-H 


HH 


> 


> 




1— ( 




^ 






M 




<1 








1—1 


1— 1 


i—i 




> 




fe 






«+i 




D 




^ 
























s 




O 


, 




* 


• 


• 


> 


* 




" 




KT 






^ 


1-1 

P^ 


Ph 
W 

PS 
< 

:? 

H 
S 


♦ ♦ 


♦♦ 


♦ ♦ 


i 


I 

37 




1> 
01 


Kf 

% 


37 




37 
37 


37 
♦ ♦ 


4 

09 

m 


ffi 


<5 








<n 


^ 


?J 


^^ 


^ 




<r 






* 




o 








1 

r7 


37 




♦♦ 


?7 












»— ' 


o 








•^ 


:n 




^ 




37 








w 


^ 

CC 








jn 


•^ 




•^ 




1^ 








< 


O 










3 




37 




^ 




















w 

37 

♦♦ 






Kf 




Kf 

31 











THE LIST OF SUBSCRIBERS' NAMES. 



H. R. H. THE PRINCESS AUGUSTA 



H. R. H. THE DUCHESS OF KENT. 



Altamont, The Earl of 

Attwood, Rev. George, Framiingliam, Suffolk. 

Bacon, R. M. Esq., Cossey, Norwich. 

Bamford, James, Esq., 6, Milk Street, Cheapside, Lon don. 

Bellamy, Rev. Edward, Dersingham, Norfolk. 

Boyle, Charles John, Esq. ) p^^^^^^ Hampton Court, Middlesex. 

, Miss Mary Louisa, ^ 

Brander, Rev. Boulton, Calne, Wilts. 

Branfil, Charles, Esq., Upminster Hall, Essex. 

Buccleugh, Her Grace the Duchess of, Whitehall, London. 

Burghersh, Right Hon. Lord Viscount, 12, Upper Harley Street, London. 

Burnett, John Fasset, Esq. May Place, Dartford, Kent. 

Burton, Lieut.-Col. Wilham, Royal Marines, Woolwich, Kent. 

Campbell, Vice-Admiral Sir Patrick, K.C.B., Leamington, Warwickshire, 2 copies. 

-, Lieut. -General Sir Colin, K.C.B., Governor of Ceylon. 2 copies 

, Colonel Frederick, commanding Royal xA.rtillery at Montreal, Canada. 

Condren de Suzanne, Monsieur de, Proviseur du College Royal, Angers, France. 

Cooksley, Rev. J. C, Eton College, Windsor, Berks. 

Craig, Rev. Edward, Burton- Latimer, Northamptonshire. 

Dawson, Rev. W. A., Christ College, Cambridge. 

Dixon, Mrs. C, Nightingale Vale, Woolwich, Kent. 

Doyle, James, Esq., Crimplesham Hall, Norfolk. 

Dupont, Mons. Claude Jean, Dijon, France. 

Evans, Miss, Burton-Latimer, Northamptonshire. 

Falkland, Lord Viscount, Governor of Nova Scotia, 2 copies. 

Fox, Rev. William, Girsby House, Louth, Lincolnshire, 6 copies, 

Frere, Philip H., Esq., Downing College, Cambridge. 

Grimshawe, Charles Livius, Esq. Biddenham, Bedfordshire. 

Gurney, Daniel, Esq. North Runcton, Lynn, Norfolk. 

Hamilton, Rev. George, 32, Burton Crescent, London. 

Harper, Rev. Latimer, Burton-Latimer, Northamptonshire. 

Harrison, Rev. W. B., Goudhurst, Kent. 

Hawtrey, Rev. Dr., Eton College, Windsor, 6 copies. 

Henslow, The Misses, Down Cottage, Clifton, Somerset. 

* Deceased, 22d September, 1840. 



122 THE LIST OF SUBSCRIBERS^ NAMES. 

Henslowe, E. P. Esq., Cranham, Essex. 

, F. I. F. Lieut. R.N. Chevalier de I'ordre de Leopold, 

, F. H. Esq., Sydney, N. S. W. 

Hulkes, Thomas WilHam, Esq., Rochester, Kent. 

Jones, Charles, Esq. 32, Gower Street, London. 

Kennedy, Rev. Dr., Shrewsbury School, Salop. 

Kelly, Thomas Juhus, Esq., Major, commanding at Tilbury Fort. 

LlandafF, Right Rev. Lord Bishop of. Deanery, St. Paul's, London. 

Lee, Rev. Professor, D.D., Trinity college, Cambridge. 

Lloyd, William Horton, Esq., 1, Park Square, Regent's Park, London. 

London, Right Hon. Lord Mayor of, 1839-40. 

Mechanics' Institution, The Chatham, Rochester, and Stroud, High Street, Chat- 
ham, Kent. 

Montgomerie, Miss, Puttenham Priory, Guilford, Surrey. 

Nichols, J. B. Esq., 25, Parhament Street, London. 

Norfolk, His Grace the Duke of, Fornham, St. Genevieve, Bury, Suffolk. 

Northumberland, His Grace the Duke of, Northumberland House, London. 

Okes, C. Esq., Travers' Naval College, Windsor, Berks. 

Okes, Rev. B., Eton College, Windsor, Berks. 

Ouseley, Right Hon. Sir Gore, Bart, 41, Upper Brook Street, Grosvenor Square, 
London. 

Parker, Rev. J. T., 21, Bedford Place, Kensington. 

Patterson, James, Esq., M. D., Downham, Norfolk. 

Pearce, Rev. Thomas, Folkestone, Kent. 

Peterborough, Right Rev. Lord Bishop of, Palace, Peterborough. 

Phipps, Hon. Edmund, Mount Street, Park Lane, London, 2 copies. 

Powerscourt, Viscountess, Sandgate, Kent. 

Ripon, Right Rev. Lord Bishop of, Bishopton, Ripon. 

Robinson, Frederick, Esq., Southery, Norfolk. 

Rule, WiUiam, Esq. Upper Bedford Place, London. 

Rushbrook, Lieut. -Col. Robert, Rushbrook Park, Suffolk. 

Saumarez, Hon. Mrs. T. Lemarchant, Milford Villa, Lymington, Hants, 2 copies. 

Scott, Capt. Charles Rochefort, R. S. C, Cheltenham. 

Strode, Mrs. Col. Chetham, Milford Villa, Lymington, Hants, 2 copies. 

Sumner, Richard, Esq., Puttenham Priory, Guilford, Surrey. 

Tarver, Mons., Eton College, Windsor, Berks. 

Tattam, Rev. Henry, St. Cuthbert's, Bedford. 

Taylor, R. Cuninghame, Esq. 63, Baker Street, Portman Square, London. 

Thompson, Charles, Esq., Jesus College, Cambridge. 

Tulk, Charles Augustus, Esq., Duke Street, Westminster. 

Uppleby, Rev. George, Bardney Hall, Barton upon Humber, Lincolnshire, 2 copies. 

Usko, Rev. John Frederick, Orsett, Essex. 

Ware, Martin, Esq. New Bridge Street, London. 

Yorke, Mrs., Prospect Place, Woolwich Common, Kent. 



EIGHT SERMONS, 

ADDRESSED TO 

THE ROYAL REGIMENT OF ARTILLERY, 

IN THE BARRACK-CHAPEL AT WOOLWICH. 

To which are annexed, copious and interesting Notes, illustrative of the lawful 
extent and limitation of Military Discipline, and the importance of 
Religious Principle in the Soldier. 

By the Rev. WILLIAM-HENRY HENSLOWE, M.A. 

London : Published by J. Hatchard & Son, 187, Piccadilly. 183G. 



NOTICES ON THE SERMONS. 

From the Atlas Newspaper of Sunday, Tth August, 1836. 
rr" There is always something peculiarly impressive in spiritual teaching addressed to men in 
the harness of war. What can be more grand than the contemplation of a soldier of truth ? 
And such is really the chaplain in the midst of a military congregation. The proud are to be 
humbled, the valiant to be put down ; the strong must be overcome, the weak supported, the 
faint-hearted cheered ; and the battle against ourselves must be led with vigour, to secure 
triumph. But there is something unusually interesting in the discourses before us ; they are 
written by a younger brother of the chaplain, during the illness of the latter, generally on the 
night before the day of preaching. The discourses were, by military authority, forbidden to 
exceed twenty minutes in delivery; and yet these hastily composed ' sermon essays' created a 
sensation, which proves the courage and spirit with which they were written and delivered. 
The absence of chaplains from regiments, the horrid practice of flogging, and other points of 
deepest interest to the soldier, who is spoken of as a * sheep without a shepherd,' are treated 
with great boldness in one of these discourses, in consequence of which, the military autho- 
rities interfered, and the preaching of this ardent Soldier of Truth was suspended. The 
present volume is the result, and the Sermons are dedicated to Lord Hill, in a spirit of con- 
fidence which shows the author's zeal, and promises a happy result." 

From the SPECTATOR/or Saturday, 20ih August, 1836. 
= *' The contents of this volume do not sufficiently differ from the twenty or thirty thousand 
sermons (at a moderate computation), that are weekly delivered in Great Britain, to require 
much criticism for themselves ; but they maY be noticed for the singular simple-mindedness 
of the author, and an unpleasant result which their delivery produced. They were originally 
preached to the Royal Regiment of Artillery in the Barrack Chapel at Woolwich ; but the 
ruling powers of that distinguished corps stopped the sacred orator after the eighth hortative. 
Divines have established for themselves a perfect freedom of speech in the pulpit ; but they 
usually exercise it in general terms. William Henslowe was too personal to be pleasant ; he 
not only charged the corps with being of little faith, and much bad practice, but he drew his 
illustrations and evidences from passing events, using the death-bed scenes of the military 
hospitals as a proof and a warning, and hurling in the teeth of the living the fact of their 
frequent floggings, as testimonies of their unworthiness not to be gainsaid. He touched upon 
a tender part, when he hinted (so we understand him) that soldiers ought not to obey orders 
to render honour to a rival creed. He perhaps put forward an opinion of questionable sound- 
ness in a military point of view, when he declared he would rather face an enemy, with a 
force, however small, from whence every ' wicked man ' was removed, than have the entire 



1*24 NOTICES ON THE SERMONS. 

English army with the 'wicked' in it. But the soldier-authorities seem to have alleged 
doctrinal objections to the seventh sermon, on ' Providential Warnings and Divine Visitations,' 
from the text, ' Shall the trumpet be blown in the city, and the people not be afraid ? Shall 
there he evil in a city, and the Lord hath not done it ?' We may lack the acumen of the 
military divines, or have not examined the discourse with the attention they gave it, but we 
have perceived nothing very uncommon (for sermons) in the argument ; perhaps it was in the 
instances selected for the illustration of the special providence, that the offence lay. Here are 
the warnings without the comments ; the italics are the author's. 

" * I. First of all ; since the last Sabbath-day dawned and darkened over our heads, a soldier 
has committed murder in the day-time ! 

II. " ' The trumpet of God's providence has also been sounded by another evil, of recent and 
lamentable occurrence. I allude to the case of a poor soldier who is at this moment suspended 
between life a7id death, in consequence of an injury he sustained, whilst engaged at work on 
account of the monthly amusements, the celebrated periodical festivities of this place lately 
begun. [An officer's ball we infer.] 

" ' III. There is yet another and a third evil which has taken place of late, and whereby the 
trumpet of God's providence has blown a shrill and shrieking blast around the walls of the 
Academy. Year after year, for three years in succession, has a similar blast been repeated in 
the ears of the cadets ; and, it is to be feared, from the circumstance of that repetition, with 
but little pious regard on their parts. But, what ! Shall the trumpet be blown in the city, and 
the people not be afraid ? Shall there be evil in a city, and the Lord hath not done it ? 
[The evil was three accidental deaths ; or, as we should rather consider, three providential 
ones.]' " 



From a Critic to a Friend, November, 1836. 

=:" The Sermons are beautifully written : really some passages are so awakening, that they 
make you start with conviction and admiration. I much admire his holy boldness in advo- 
cating the cause for which he will not compromise the truth. I shall endeavour to make his 
discourses circulate; already I have interested my cousin, the member," [Mr. P ]. 

Fromthe Gentleman's Magkzi-^-e, for December, 1836. 

= " Of the zeal and piety of Mi-. Henslowe we have ample evidence ; but one of his sermons, 
the fourth, gave such offence to the officers, that the pulpit of the Chapel was closed against 
him. The chief cause of complaint was grounded on his allusion to the punishment of 
flogging. Upon reference to the passage, we can find nothing that ought, in justice, to have 
offended, since the punishment is only mentioned incidentally as a consequence of the de- 
gradation which rendered it necessary. The author has both talent and piety, such as would 
adorn the profession to which he belongs. The present volume is certainly not learned, nor 
very eloquent [for learning directly applied to £uch an audience would be misplaced ; and the 
eloquence of Chrysostom, or Basil, would have fallen on ears that could not drink in those 
strains divine], but it is very well written, animated, forcible, perspicuous." 



« 40 




■?:".»\/;..., 













< 





;i't[!u!il 



LIBRARY OF CONGRESS 

lllllllil 



003 020 482 7 % 



ifiin.i! 












11 



I 
1 

I 




■iilliiiiii 
^■ii a iff 













lliii 



